The final collaborativeartwork reflected theeighth-graders'desiresfor working with theyounger students. Photoby Julia Gross.

BY KAREN HUTZEL, R O B E R T RUSSELL, A N D JULIA G R O S S

T he art teacher, Mrs. Gross, led a small group of eighth-grade students down the hall toward a class-room of pre-kindergarten students. In typical adolescent style, the students were slightly rambunc-tious as they walked, joking playfully and giggling loudly while Mrs. Gross hushed them. When they

arrived at the classroom of their service-learning partners, the eighth-graders' demeanor quickly changed.They walked through the classroom door as if passing through a time machine, quickly exhibiting muchmore mature behavior on the other side. Vtis was not their first visit. They had been working with theseparticular children for several weeks, and knew exactly where to go, what to do, and how to behave like therole models they seemed to recognize they were.

The tables and chairs were much smaller than those in the art room, matching the size of the children,who appeared bashful, hiding their excitement about seeing their eighth-grade buddies. As the eighth-graders sat in the tiny chairs, they pulled out small painted canvases, sheets of rub-off letters, and piecesof paper with the header "Words that describe me" They worked together quietly, selecting words, rubbingoff multiple letters onto the painted canvases, and preparing to present their work to the entire class whileseveral adults snapped photographs. Two by two, the groups stood in front of the classroom to present theirletters. In each case, the eighth-grader did his or her best to encourage the pre-kindergarten partner totell the class about their chosen word. In several cases, the younger partner spoke quietly. In other cases,the smaller of the two looked up to the older friend begging with his or her eyes for the older one to do thetalking. As they stood in front of the room, it became evident that the painted canvases placed togetherspelled "helpful" a word chosen by the eighth-graders to represent how they wished to collaborate with theiryounger partners.

After the short presentations, the eighth-graders said goodbye to their partners and left the room. Thistime, as they walked back to the art room, the eighth-graders talked about ideas for an art project. Oneboy suggested a recycled art piece made from plastic bottles. When they arrived back at the classroom,Mrs. Gross facilitated a discussion with them to finalize plans for the art piece. Students suggested ways to

12 ART EDUCATION/July 2010

Eighth-Graders asROLE MODELSA Service-Learning Art Collaborationfor Social and Emotional Learning

refine the painted letters and add to themeaning of the piece. When one studentsuggested they add their names to thepiece, another student said that wouldbe "conceited, by drawing attention toourselves." Another boy suggested theyadd the initials of the younger studentpartners to make it more meaningful tothem because, he said, "it's kirida' liketheir project." He was referring to thedecision he and his peers had made earlyin the project for the art piece to belongprimarily to the younger students.

Social and Emotional Learningthrough Service-Learning

In a recent article, Russell and Hutzel(2007), two of the authors of this article,propose a framework for teaching social andemotional learning (SEL) in art educationthrough collaborative service-learning. Asdefined in that article, SEL is a "processthrough which children and adults develop(he skills, attitudes, and values necessary toacquire social and emotional competence"(Elias, et ai., 1997, p. 2, quoted in Russell &Hutzel, 2007, p. 7). The core competencies ofSEL include self-awareness, social-awareness,self-management, responsible decisionmaking, and relationship skills (Collaborativefor Academic, Social, and Emotional

Learning [CASEL], 2004), and within eachcompetency is a set of skills (see Figure 1 ).Transcending the often implicit and indirectinstruction of social and emotional learningin traditional art education practice, the goalof SEL for art teachers "is to teach explicitlythose understandings, skills, and dispositionsthat positively affect student discipline as aregular part of the art curriculum" (Russell& Hutzel, 2007, p. 7) through artmakingand critical discussion of images. There area myriad of ways this can he accomplishedin the art room, from individual artmakingactivities based on a hig idea (Walker,2001), to art criticism and critical dialogueabout visual culture that dissects social andcultural issues, to social experiences thatengage children in collaborative learningactivities. In the various possibilities fordirectly addressing SEL in art education, thisparticular approach involves service-learningand collaborative artmaking through anasset-based exploration. The social andemotional skills identified by CASEL (2004)can be directly practiced, taught, discussed,and reflected on through active participationin socializing and personal and emotionalreflection through writing.

This conceptual framework integratesSEL in art instruction through service-learning and a collaborate and createmodel to artmaking (Russell & Hutzel,2007). In implementing these concepts with

eighth-graders and pre-kindergartners,the older students' positions as role modelsbecame significant in addressing SEL compe-tencies through service-learning collab-orative artmaking activities. Positive rolemodeling involves leadership, caring, and anability to be self-aware in order to manageone's behavior in a positive and assertive waywith others. The eighth-graders' positionsas role models will be highlighted in theteacher's perspective on the experience andthe children's written and verbal commentsrelative to SEL competencies.

Photos by Karen Hutzel.

July 2010 / ART EDUCATION 13

Self-Awareness

Identifying emotions: Identifying and labeling one's feelings

Recognizing strengths: Identifying and cultivating one's strengths and positivequalities

5ocial-Awarene5s

Perspective-taking: Identifying and understanding the thoughts and feelings ofothers

Appreciating diversity: understanding that individual and group differencescomplement each other and make the world more interesting

Self-Management

Managing emotions: Monitoring and regulating feelings so they aid rather thanimpede the handling of situations

Goal setting: Establishing and working toward the achievement of short- andlong-term pro-social goals

Responsible Decision Making

Analyzing situations: Accurately perceiving situations in which a decision is tobe made and assessing factors that might influence one's response

Assuming personal responsibility: Recognizing and understanding one's obliga-tion to engage in ethical, safe, and legal behaviors

Respecting others: Believing that others deserve to be treated with kindness andcompassion and feeling motivated to contribute to the common good

Problem solving: generating, implementing, and evaluating positive andinformed solutions to problems

Relationship Skills

Communication: Using verba! and nonverbal skills to express oneself andpromote positive and effective exchanges with others

Building relationships: Establishing and maintaining healthy and rewardingconnections with individuals and groups

Negotiation: Achieving mutually satisfactory resolutions to conflict by addressingthe needs of all concerned

Refusal: Effectively conveying and following through with one's decision not toengage in unwanted, unsafe, unethical, or unlawful conduct

Figure 1. SEL Core Competencies as stated by CASEL (2004) and reprinted from Russell andHutzel {2007).

AN EXAMPLE: Curriculum and Instructionwith Eighth-Graders

This article describes a situation in which the proposedconcepts of social and emotional learning coupled withservice-learning and art education were included in acurriculum unit and implemented during two sequentialyears in a private middle school near Akron, Ohio. JuliaGross, the school's art teacher, developed and implementedthe curriculum with her eighth-grade students (see Figure2), who partnered with pre-kindergarteii children in thesame school huilding. This article will emphasize thesecond-year experience, as Mrs. Gross worked out someproblems, resulting in greater impact for the project andthe students.

This article considers potential outcomes in addition toSEL competencies in art education, namely the students'positions as role models in the experience. The followingpresents an analysis and interpretation of the learningexperience for the eighth-graders, including ( I ) the teach-er's description of the experience; (2) analysis of outcomesrelated to SEL core competencies; and (3) possibilitiesfor further engaging social and emotional learning in themiddle school art classroom.

TEACHER PERSPECTIVE: Role Modelsand Behavior ChangesI find middle school chiJdren at an age of vast change,facing challenging personal and social issues. In the artclassroom they have an opportunity to express theiremotions while socializing with one anolher. Viroughservice-learning and social and emotional learning, Iattempted to address these challenges head-on and wassurprised myself at the outcomes.

When 1 asked the students to begin thinking aboutpersonal assets, I quickly realized that they had a difficulttime coming up with their lists. It seemed embarrassing forthem to write down words that described good characterqualities, as if this was such a different classroom exercise.Additionally, middle school students consider it ratheragonizing to venture away from the crowd, especially whenit comes to evaluating one's self. The eighth-graders did notwant to be outcasts, so being the first to take things seri-ously was a dangerous choice. Finally realizing they werein a safe space where little judgment from others would betolerated, they worked their way through considering andcommunicating their assets.

I was pleasantly surprised when the students I thoughtwould not participate at all ended up being some of themost involved with their pre-kindergarten partners. Thisis when I began to realize the potential of service-learningand social and emotional learning to address classroombehavior, particularly through collaborative artmakingfocused on participants' qualities. One particular young girlhad behavioral troubles in most of her classes, includingthe art class. She commented several times before and

14 ART EDUCATION/July 2010

Making Connections, Making Art

Big Idea: Connections Related Topic: CollaborationEssential Questions: How can we learn about others and ourselves in creating a collaborative artvi/ork? How can art create connections?

Lessons 1 and 2: Introduction to ProjectIntroduce service-learnirtg and ossefs by discussing how students mightevaiuate the strengths of themselves and their younger partners. Eighthgraders choose a word to represent the experience.

Discussion. What are your expectations in working with the pre-kindergarten students? What do you think will be most difficult/enjoy-able about this project? What do you think you might learn from thisproject? Is there anything that you are nervous about in working withthe younger students?

Emotion Word Logo. Students design a feeling word based on Itsmeaning and implications,

Les5on 3: Introduction to Service-Learning Partners

Eighth grade students ask their younger partners questions such as:What do you iike to do at home? Did you do anything fun this summer?What is your favorite thing about school?

Painting the Background. Each student pair receives a square canvas,paints the background In a color chosen by the pre-kindergartenstudents, and paints a letter of the chosen word.

Lesson 4: Personal Asset Inventory (Recognizing personal strengths)

Asset Collage. Without the youth partners, eighth graders iook for imagesand words that describe their strengths in printed materials and create acollage representing their positive traits.

Lesson 5: Partner's Asset Inventory (Recognizing strengths ofothers)

Adding Younger Students'Assets. One eighth grader reads aloud CityGreen by DyAnne DiSaivo-Ryan. The eighth graders work with theiryounger partners to identify a word to describe the pre-kindergartner.The pairs use rub off ietters to imprint the identified word onto theircanvas and share with the class.

Lesson 6: In-Progress Reflection

Journal Prompts. What was your reaction to your pre-kindergartenstudent as you started working with them? Choose a word thatdescribes how you felt as you worked with your partner. Whatwas easy/difficult while you worked with your partner?

Lesson 7: Finishing Collaborative Art Piece

The pairs use glitter and other supplies to decorate the canvas.One eighth grader reads aloud Alligator Arrived With Apples: APotluck Alphabet Feast hy Crescent Dragonwagon.

Journal Prompts. What will we do when problems arise? How dowe negotiate strategies together?

Lesson 8: Reflection, Make-up DayJournal Prompts. How was this past week's interaction different orthe same as other interactions you have had with your partner?How did you soive problems that arose? How did you feei whenproblems occurred? How are you feeling now that the project isalmost done?

Lesson 9: Recognition

Students recognized for their work in school-wide assembly.Local newspaper and televised news programs should be invitedto participate.

Lesson 10: Final ReflectionJournal Prompts. How did you feei about working with the pre-kindergarten students? How did you feel when you saw yourwork being recognized? How do you think the pre-kindergartenstudents felt?

Figure 2. Service-Learning Unit Plan to Promote Social and Emotionai Learning.

during the project that she could not work with young children andhad no desire to do so. She ended up being the most willingly sillyand creative student with the pre-kindergarten children.

Watching my students interact with their younger partners, Inoticed the pre-kindergarten students brought honesty, vulnerability,and individuality that eighth-grade students often struggle with asteenagers. These as.sets were present when the pre-kindergartenersasked the eighth-graders to join in their free-style dancing ritualat the end of class. The eighth-graders hesitantly joined in the fun,but they quickly felt the freedom to be enthusiastic as the pre-kindergarteners modeled this for them. The freedom and wonder thepre-kindergarten students demonstrated assisted in the behavioralchanges I saw in the eighth-grade students. Students were able tofocus on becoming a role model partially through the pre-kinder-garten students being vulnerable and enthusiastic.

I was surprised and pleased with the students' ability to problemsolve, their willingness to make choices, and their interest in fullyparticipating in and exploring multiple ideas and possibilities. Thesecond year I implemented this curriculum, I stepped into the role offacilitator more fully, and gave up more of the decision-making to thestudents.

We began the project by critiquing the quilt, the art piece createdthe previous year. We decided that project was too complex forthe pre-kindergarten students to fully participate in the process.We brainstormed as a group to think of an art project the pre-kindergarten students could fully partner in making with us. Inthis conversation, we discussed the idea of collaboration. 'Ihestudents came up with a variety of words that described whatworking in a group might look ¡ike in searching for a word thatcould become the foundation of our collaborative art piece. Eventhough the pre-kindergartners were more involved the secondyear, I realize now that this was still not a fully collaborativeexercise, as the eighth-graders made most of the decisions.

The eighth-graders came up with the word "helpful" as a symbolof working as a collaborative group. They also decided to painteach letter of the word separately in teams, one pre-kindergartenstudent and one eighth-grade student. Each pair painted a letterand background on their canvas and then created a colorfuldesign to add to the letters with glitter paint. The eighth-gradersalso decided to add their chosen asset words in letterpress.

July 2010 / ART EDUCATION 15

>%%J«

Word Wall in Mrs. üross classroom.

through a ruhhing technique, to providean easy medium for the younger studentsto use.

As the project neared completion, theeighth-grade students decided to createa poem to include with the paintings.Each painting had a letter of the word"HELPFUV and also included a line oftheir poem. The poem stated: Honored toshare; Eager to help; Loving others; Playfulwith friends; Fun to be with; Uplifts oneanother; Loved as yourself. The eighth-graders learned to he helpful as theycollaborated with the younger students, andthe students all learned to brainstorm andmake changes to the original plan as theywent along.

Strategies offered to reinforce the goals of self esteem, hope,

responsibility, empathy, and resiliency are varied and connect

easily to strategies already employed in the art classroom.

SEL Outcomes for theEighth-GradersThe students were gathered around tables ingroups of four or more. In one group, therewere several pre-kindergarten childrenworking closely with their eighth-gradebuddies. In another group, there were foureighth-graders without younger partnerssitting around the table. In this group, a boywith the word "funny" drawn in front ofhim to represent his personality was pokingthe boy across from him in the foreheadwith a pencil. Across the room at the sametime, another boy was helping his yottngerpartner carry a large piece of paper acrossthe room, gently encouraging her as towhere to walk. This observational contrasthighlighted the ability of this age group toexhibit varying behaviors based on circum-stance: in the one case a boy who wasresponsible for a younger child was able toact as a role model and leader; in the othercase, a group of eighth-graders who had noyounger partners to watch over participatedin unacceptable school behavior.

16 ART EDUCATION/July 2010

The impact of this experi-ence on the eighth-graders'developmental character-istics is relevant to the fivecore competencies of socialand emotional learning(SKL), including self-awareness, social-awareness,se If-management, respon-sible decision-making, andrelationship skills (CASEL.2004). Others besides theeighth-graders were likely impacted by theservice-learning project, including the pre-kindergartners. teachers, school personnel,parents, and other students in the school—todiffering degrees, ilowever, development ofunderstandings, skills, and potential disposi-tions were likely greatest in the eighth-jîraders, who led the project as role modelsiif the pre-kindergarten students and directlyLiddressed ihe social and emotional compe-tencies through their collaboration.

Analysis of students' written and verbalcomments, observations, and Mrs, Gross'reflections reveal the eighth-graders devel-oped understandings, skills, and dispositionsrelated to the five SEL competencies. Theseoutcomes seemed especially strong whenobserving the eighth-graders interacting withthe younger students, but were also evidentill students' written journals. Analysis ofthe experience does not, however, concludecertain SEL skill development, as theeighth-graders would have to be observed in.mother situation to determine transferenceof their learning.

Nevertheless, students' behavior as positiverole models and quotes in their journals dosurest development in each of the five SELcategories. Self-awareness, social-awareness,iind relationship skills—especially in relationto acting as a role model for youngerchildren—were most strongly indicated bystudents' written quotes, choosing particularwords to express their emotions and under-standings, while the remaining two compe-tencies were not as strong in this experience.Ihe first competency, self-awareness, wasindicated through students describing them-selves as "annoyed, frustrated, disappointed,and nervous," and "proud, connected, andnervous" while working with the pre-kinder-gartners. Social-aware ness was the secondstrongest outcome for the eighth-graders,as one stated, "I am starting to understand

him and his personality. Hetalks a lot." Another studentwrote, "They may of [sic]felt uncomfortable in frontof the kids," showing thisstudent's ability to recog-nize the younger student'spossible perspective. Finally.the eighth-graders' behaviorindicated an understandingof their own relationshipskills during the service-

learning project, one stating, "I felt morelike a friend to him than before and I talkedto him more." Another student wrote, "1 feltour relationship is getting better with bettercommunication." Having expressed theirchallenges, disappointments, and frustrationswith their first encounter with the quiet pre-kindergartners, the eighth-graders realizedtoward the end of the project their devel-opment of relationships through ongoingcommunication with the younger students.

Possibilities for Addressing Socialand Emotional Learning in ArtEducation

While this experience revealed positiveresults for the eighth-graders through thisparticular strategy, the opportunity for arteducation and for social and emotionallearning to support learning across themiddle school curriculum is profound.Cohen (1999) alluded to this possibility;

In recent years, teachers and researchershave rediscovered what good teachers andparents have known for many years: thatknowledge of ourselves and others as well asthe capacity to use this knowledge to solveproblems creatively provides an essentialfoimdation for both academic learning andthe capacity to become an active, constructivecitizen, (p. 3)

The connection of social and emotionallearning with collaborative artmaking hasgreat potential to support school reformmovements that target middle school agegroups, particularly the combination ofan asset-based, collaborative approach toartmaking that directly addresses social andemotional competencies to promote successin middle school children. Art plays a uniquerole in this equation, as the process of coUab-oratively creating visual images requiresgroups of students to negotiate meaningthrough social interactions focused on

emotional symbols and words. The processcan be especially rewarding for middleschool children to step into the position ofrole models.

Within social and emotional learning liter-ature is a body of work addressing the devel-opment of middle school children. This workconcludes that social and emotional learningat this age of vast change positively impactsthe development of responsibility (Charney,Crawford, & Wood, 1999), encouragementof empathy, and fostering of self-esteem andhope toward personal resilience (Brooks.1999). Acting as role models allowed theeighth-graders to practice several of thesedevelopments. However, the classroomculture is most significant to students feelingcomfortable taking the risks associated withsuch leadership.

We must recognize that students willlearn most effectively in an atmosphere inwhich they feel safe and do not fear beingridiculed or humiliated, in which they arechallenged and assisted to meet realisticgoals, in which they feel teachers genu-inely care about them and respect theirindividuality, and in which learning isseen as an exciting adventure rather thanas drudgery (Brooks, 1999, p. 65)

In our experience with Mrs. Gross' eighth-grade students, the atmosphere she createdwas significant to the success of the learningprocess and the eighth-graders' ability to stepinto the position of role models and leaders.In the opening vignette, the evidence of thissense of safety was revealed in the students'ability to assert their own ideas for futurecollaborative art projects.

Strategies offered to reinforce the goals ofself-esteem, hope, responsibility, empathy,and resiliency are varied and connecteasily to strategies already employed inthe art classroom. Charney, Crawford andWood (1999) offer six particular strategies,including: (1) classroom organization, (2)the Circle of Power and Respect (whichis a structured routine of interaction),(3) rules and logical consequences, (4)academic choice. (5) guided discovery, and(6) assessment and reporting to parents.While these strategies are very specific anddirect, the art classroom offers a space whererules and risk-taking through explorationare constantly balanced. As such, the art

July 2010 / ART EDUCATION 17

classroom provides an obvious space inwhich students can experience these strate-gies {presented here in direct response tothe six strategies just stated) through (1)the art room's organization of work spacesand media; (2) routines of art criticismand interactions around art productionand critique; (3) the art teacher's specificrules and consequences; (4) choice in whatstudents will make, what materials studentswilt use, and how students might respond toothers' art; (5) the art teacher's role facili-tating artmaking through informal guidingactivities and discussions; and (6} assessmentof artwork and exhibition of finished pieces.These strategies are common in art class-rooms, but could be enhanced through moredirect instruction that includes componentsof social and emotional learning.

DiscussionThe potential for social and emotional

learning in art education is vast, includingour proposal for service-learning and collab-orative artmaking as a specific approach toaddress the core competencies. In a previousarticle in which we projected a marriageof art education and social and emotionallearning, Russell and Hutzel (2007) stated:"Art educators already teach social-emotionalskills. After all, we know that much of artthroughout history engaged social issues inone way or another. Moreover, the creationof and responses to art involves emotionaldimensions in some respect" (p. 7). However,our research provided no literature sourcesthat directly connected art education withsocial and emotional learning. In addition tothis connection, however, we found in imple-menting the curriculum additional outcomesthat are worthy of discussing.

Two related themes touched on earlierdeserve further discussion in closing: rolemodeling and asset-based collaboration.The leadership that the eighth-gradersprovided to the pre-kindergartners includedperforming, and therefore modeling, theroles of a teacher and caregiver to thechildren. In addition, their role modelinginfluenced the learning of both the modelsand the imitators. For example, how teachersand caregivers should behave, even whenteenagers, was likely reinforced for the(pre-kindergarten) imitators. And howteachers and caregivers should behave wasreinforced for the (eighth-grade) models, aswell. Another dimension was added for theteenagers when they were asked to performthe role with real children in real time andspace. For many adolescents this wouldmean a primary role reversal—from imitatorto model, from receiver to giver—particu-larly in the context of the school day andcurriculum. Of course, many adolescents arementors and caregivers to younger siblingsat home, at least some of the time. As aresult, the learning for these adolescentswould seem to have been more profound orsignificant than for the younger children. Forexample, the eighth-graders found them-selves in a situation where they felt obligatedto act out many of the SEL competenciesoutlined earlier, rather than "act out"—tryout whatever immediate impulses movedthem at the time, as youngsters often do,even when serious emotional issues are notat work. By adopting the "adult" role, theeighth-graders (1) practiced socially andemotionally responsible behaviors to them-selves and to others, (2) received recognitionand encouragement for doing so, and (3)perhaps gained a new-found appreciation

for the trials and obligations of their ownteachers and guardians.

The idea of asset-based collaborationimplies that all partners have differentresources (understandings, knowledge,skills, and dispositions) to contribute to thegroup effort. But the age and comparableabilities of the pre-kindergarteners raisesthe question of what assets they brought tothe adolescent-led art project. The answermight be "relatively little" in light of a youngchild's understandings, knowledge, andskills. But if considering their dispositionsand, paradoxically, their need for care andmentoring, the number of assets grows. First,consider dispositions: pre-kindergartnershave a natural tendency to wonder at newbut simple things. They are unpretentiousand tend to engage in new activities withoutundue fear. All of these qualities are typicallysuppressed to some degree hy the adolescentangst to fit in. Second, consider need: logi-cally, a "need" is the opposite of an "asset."But in a wider sen.se a need can serve as an"asset" in relation to our psycho-social needto give to others, the need to be needed. Thechildren's need for care and tutoring wasan "asset" brought to the partnership as agenuine opportunity for the eighth-graders togive, to be needed.

Karen Hutzel is Assistant Professor of ArtEducation at The Ohio State University,Columbus. E-mail: hutzel.4@osu.edu

Robert Russell is Associate Professor of ArtEducation at the University of Cincinnati.E-mail: Robert.russell@uc.edu

Julia Gross is an Art Teacher at SummitChristian School. Cuyahoga Falls, Ohio.E-mail: daydream.jrae@yahoo.com

REFERENCESBrooks, R. B. ( 1999). Creating a positive school climate: Strategies for fostering self-esteem, motivation, and resilience. In ). Cohen (Ed.),

Educating minds and hearts: Social emotional ¡earning and the passage into adolescence {pp. 61-73). New York: Teachers College Press.Charney, R., Crawford, L., &Wood, C. (1999}. The development of responsibility in early adolescence: Approaches to social and emotional

learning in the middle school. In J. Cohen (Ed.), Educating minds and hearts: Social emotional ¡earning and the passage into adolescence(pp. 95-111 ). New York: Teachers College Press.

Cohen, [. (1999). Social and emotional learning past and present: A psychoeducational dialogue. In). Cohen (Ed.), Educating minds andhearts: Social emotional learning and the passage into adolescence {pp. 3-23). New York: Teachers College Press.

Collaborative for Academic, Social, and Emotional Learning (CASEL). (2004). Safe and sound: An educationa¡ ¡eader's guide to evidence-based

social and emotional ¡earning programs. Chicago: Author.

Elias, M.J., Zins, |. E., Weissberg, R. P, Frey, K. S., Greenberg, M. T., Haynes, N. M., et al. (1997). Promoiing social and emotiona¡ learning:Guidelines for educators. Alexandria, VA: Association for Supervision and Curriculum Development.

Russell, R. L.& Hutzel, K. (2007). Promoting social and emotional learning through service-learning art projects. Art Educaiion, (60)3,6-11.Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davis Publications.

18 ART EDUCATION / July 2010

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