Arts & Activities Magazine January 2019 by Arts & Activities

KilnMaster KilnMaster

Touchscreen Touchscreen

Programming just got really cool! Programming just got really cool!

• •• •• •• ••

Built-in Wifi and Free App RemoteWifi Monitoring Built-in and Free App Navigates like your Smartphone Remote Monitoring Hinged Controller Perfect Angle Navigates like yourfor Smartphone Built-in Library of Programs Hinged Controller for Perfect Angle

• Built-in Library of Programs

• •• •• •• ••

Write and Name Your Own Programs Help Screens for Your EveryOwn Feature Write and Name Programs Graphing Help Screens for Every Feature Logging Graphing Improved Diagnostics Logging

• Improved Diagnostics

...and really easy! ...and really easy!

skutt.com/kmt skutt.com/kmt

CONTENTS VOLUME 164, N o. 5

14 16 18 23

J A NUA R Y 2 0 1 9

TAP INTO THE POWER OF ART

IZZY WHEELS: CONNECTING ON AN EMOTIONAL LEVEL Anne M. Hoffman COMMUNITY CONNECTIONS: TRY A LITTLE KINDNESS Irv Osterer HOLD AN ART SIGNING Jenna Fergus COMMUNITY CONNECTIONS: HELP ENDANGERED SPECIES WITH ART The Endangered Species Coalition

ART APPRECIATION 10 CONTEMPORIZING FAMOUS MASTERPIECES Jenny Knappenberger 12 SGRAFFITO MASKS Matt Mazur

YEARLONG SECONDARY CURRICULUM SERIES 8 3D INTRO ART, ARTICLE 5 OF 10: POP-UP ART HISTORY Debi West SPECIAL FEATURES AND COLUMNS

6 STEPPING STONES: BRINGING THE MUSEUM TO THE ART ROOM Heidi O’Hanley 7 CHOICE-BASED ART: FAQ FOR TAB Nan E. Hathaway 38 TRIED & TRUE TIPS FOR ART TEACHERS: THE DIALOGUE OF ART Glenda Lubiner

READY-TO-USE CLASSROOM RESOURCES 19 ARTS & ACTIVITIES ART PRINT: ALFREDO ARREGUIN, HERITAGE/HERENCIA Tara Cady Sartorius 37 ARTS & ACTIVITIES STUDY PRINT: THE STARRY NIGHT (AFTER VAN GOGH) Adam Lister

A&A AT YOUR SERVICE 36 ADVERTISER INDEX 28 VOLUME 164 INDEX 31 2019 BUYER’S GUIDE

DEPARTMENTS 4 EDITOR’S NOTE 26 MEDIA REVIEWS 27 SHOP TALK ON THE COVER RED-COCKADED WOODPECKER (detail) By Serena Zhu, grades 3–5 semifinalist, Saving Endangered Species Youth Art Contest. See “Community Connections: Help Endangered Species with Art,” page 23.

SUBSCRIPTIONS: (858) 605-0251; subs@artsandactivities.com. EDITORIAL: (858) 605-0242; ed@artsandactivities.com. AD SALES: (800) 651-7567; amy.tanguay@artsandactivities.com. AD PRODUCTION: production@artsandactivities.com. FAX: (858) 605-0247. WEBSITE: www.artsandactivities.com. ADDRESS: 12345 World Trade Dr., San Diego, CA 92128. Arts & Activities® (ISSN 0004-3931) is published monthly, except July and August, by Publishers’ Development Corp., 12345 World Trade Dr., San Diego, CA 92128. Subscriptions: one year, $24.95; two years, $39.95; three years, $49.95. Foreign subscriptions, add $35 per year for postage. Single copy, $4. Title to this magazine passes to subscriber only on delivery to his or her address. Change of address requires at least four weeks’ notice. Send old address and new address. Periodical postage paid at San Diego, Calif., and at additional mailing offices. Printing by Democrat Printing, Little Rock, Ark. POSTMASTER: Send address changes to: Arts & Activities®, 12345 World Trade Drive, San Diego, CA 92128.

www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

12 3

editor’s note

Tap into the power of art and celebrate what

Thomas von Rosen

it can enable and do in our world. It can bring color, joy and pizzazz to those

e d i t o r a n d p u b l i s h e r Maryellen Bridge

who must use wheelchairs, as we learn in Anne M. Hoffman’s lesson, “Izzy

Wheels: Connecting On an Emotional Level” (page 14).

I N M E M O R I A M ( 1 9 4 2 – 2 018 )

Here, students create colorful wheel cover designs and provide a glimpse

a r t d i r e c t o r Niki Ackermann EDITORIAL ADVISORY BOARD

into their intent behind them: “I wanted to show happiness and optimism

Cris E. Guenter Professor of Arts Education/Curriculum and Instruction California State University, Chico

in my wheel design because I want people to think on the bright side. I was

inspired by the saying ‘Every cloud has a silver lining,’ so I outlined the

Barbara Herberholz Art Education Consultant, Sacramento, California

clouds with a silver Sharpie,” writes one young artist named Nava.

Jerome J. Hausman Lecturer, Consultant and Visiting Professor, at The School of the Art Institute of Chicago

George Székely Senior Professor of Art Education, University of Kentucky, Lexington

Art can create a future for a high school student

CONTRIBUTING EDITORS

(“Hold an Art Signing,” page 18). Through her diligence, hard work, and

Geri Greenman Art Department Head (Retired), Willowbrook High School, Villa Park, Illinois

well-honed skills and talent, Jessica Williams earned a full art scholarship

Paula Guhin Art Teacher (Retired), Central HighSchool, Aberdeen, South Dakota

to the University of Memphis. Her teacher, Jenna Fergus, knew this was

Nan E. Hathaway Art Teacher, Crossett Brook Middle School, Duxbury, Vermont

something to celebrate, so she planned an art signing, saying, “For years, athletes were celebrated for their high achievements in football, basketball, track ... having an art signing was a no brainer. We have to agree!

Art can spread the message of thoughtfulness, as seen in “Community Connections: Try a Little Kindness” (page 16). Author/teacher Irv Osterer writes, “I try to impress on my students that it is their responsibility to use their artistic gifts to give something back to their community ... and each semester, my classes do one project in this spirit.”

Art can also raise awareness of the many animal species that are in danger and those on the brink of extinction. The student work submitted to the Saving Endangered Species Youth Art Contest last

Amanda Koonlaba Curriculum Specialist, Teaching Artist, Saltillo, Mississippi Glenda Lubiner Middle-School Art Teacher, Franklin Academy Charter School, Pembroke Pines, Florida Don Masse Heidi O’Hanley

Art Teacher, Zamorano Fine Arts Academy, San Diego, California Art Teacher, Brodnicki Elementary School Justice, Illinois

Irv Osterer Department Head – Fine Arts and Technology, Merivale High School, Ottawa, Ontario, Canada Debi West Art Education Consultant, former Art Teacher, Hilton Head, South Carolina

ADVERTISING DEPARTMENT

a d v e r t i s i n g m a n a g e r Amy Tanguay

amy.tanguay @ artsandactivities.com 800.826.2216 or 888.651.7567 p r o d u c t i o n d i r e c t o r Kevin Lewis p r o d u c t i o n m a n a g e r Tong Ros production @ artsandactivities.com

year is amazing, and we share an assortment of it on pages 23–25 (and our

HOW TO REACH ARTS & ACTIVITIES

cover!). Be sure to take a look at “Community Connections: Help Endan-

Subscription Services To subscribe, renew, change an address or buy single copies,

gered Species with Art”—the 2019 contest is open until March 1, which gives you time to involve your students in this powerful project.

Yes, let us tap into the power of art and celebrate all of the wonderful things it can do in our world!

visit artsandactivities.com, contact subs@artsandactivities.com or call (866) 278-7678.

Letters to the Editor Letters pertaining to magazine content and art education in

general are welcomed. Arts & Activities reserves the right to edit all letters for space and clarity. Send to ed@artsandactivities.com

Manuscripts Subjects dealing with art-education practice at the elementary and secondary levels, teacher education and uses of community resources, are invited. Materials are handled with care; however, publisher assumes no responsibility for loss or damage. Unsolicited material must be accompanied by a self-addressed, stamped envelope. For Writer’s Guidelines, visit artsandactivities.com/submit/writers-guidelines/ Address all materials to the attention of the Editor. Simultaneous submissions will not be considered or accepted. Indexes Articles are indexed in January and June issues. Issues of Arts & Activities are available on microfilm and photocopies from: ProQuest Information and Learning, P.O. Box 1346, 300 N. Zeeb Rd., Ann Arbor, MI 48106. (Issues beginning with January 1977 are available in microfiche.) The full text of Arts & Activities is also available in the electronic versions of the Education Index. Copyright Permissions Reproduction of any portion of this magazine without written

permission is prohibited. Contact the Editor at the address shown below or the email address to the left or contact Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923, (978) 750-8400, copyright.com.

The opinions and recommendations expressed by individual authors within this magazine are not necessarily those of Publishers’ Development Corp.

artsandactivities.com

Maryellen Bridge, Editor and Publisher ed@artsandactivities.com 4

j a n u a r y 2 0 1 9 • 86 Y E A R S

PRINTED IN THE U.S.A.

www.ar tsandactivities.com

Clean. Precise. Dependable. L&L Kiln’s patented hard ceramic element holders protect your kiln.

• • • • •

Fires Clean Fires Evenly Easy to Program Keeps Working Made for Schools

hotkilns.com/easy-fire KILNS BUILT TO LAST

505 Sharptown Road • Swedesboro, NJ 08085 Phone: 800-750-8350 • Fax: 856.294.0070 Email: sales@hotkilns.com • Web: hotkilns.com

Stepping Stones is a monthly column that breaks down seemingly daunting tasks into simple, manageable “steps” that any art educator can take and apply directly to their classroom. Stepping Stones will explore a variety of topics and share advice for art-on-a-cart teachers and those with art rooms.

BRINGING THE MUSEUM TO THE ART ROOM

BY HEIDI O'HANLEY

ne of the core arts anchor standards is Presenting, which covers the interpretation, preservation, and sharing of artistic works. Currently, the art teachers in our district are reviewing the national and state standards and finding that even though we discuss museums and galleries within our art classes, we are still not reaching the full potential desired to achieve the anchor standard of Presenting. For the standard of Presenting, students should be able to analyze, interpret, and select artistic work for presentation. They should also develop and refine artistic work for presentation, as well as convey meaning through the presentation of artistic work. Essentially, students are not only learning how to select artworks to present the skills they learned, but also how we can care and preserve their creations. For each grade level, students should be able to learn about museums, galleries, and other venues that preserve and display artworks from many cultures time periods, and current artists. This would be an awesome opportunity to do a field trip to local art galleries and museums, which would help students see first hand how these places care for and preserve artifacts from our history. Unfortunately, many schools do not have the option to organize field trips to local museums or galleries, so parts of this anchor standard are more difficult to achieve than others. There are a few ideas in mind to help achieve this standard without going overboard in trying to organize field trips for entire grade levels.

VIRTUAL TOURS. Many museum websites, such at the

INTERACTIVE GAMES. Some museum and gallery web-

Art Institute of Chicago, features virtual gallery tours that show what the galleries appear like, as well as information about each piece displayed. This may not be exactly like being at the museum itself, but it’s pretty close to it. It’s a nice feature to work with because even if you were in the gallery of the museum, it can sometimes be tricky to take in all the information surrounding the artworks displayed.

ORGANIZE AN INTERVIEW OR A GOOGLE HANGOUT/ SKYPE SESSION WITH A CURATOR OR CONSERVATOR.

Another way to have students know that careers involved with preservation and care of artworks is by contacting museum and gallery curators and conservators and hosting a Google Hangout or Skype session with your students. This would be a great experience for any grade level, plus students can learn more about different careers in the arts. If you don’t know a curator off hand, it doesn’t hurt to call or email and local or national museums and galleries and ask. What is the harm in asking? Restoration artists and conservators also may have separate studio spaces, which may or may not give them flexibility with interview times.

ORGANIZE AN INTERVIEW OR A GOOGLE HANGOUT/ SKYPE WITH AN ARTIST. Artists are a great resource

for discussing artworks, especially how to select artworks for presentation. Last year, I personally contacted local artists and arranged a Google Hangout with a few of my classes, which gave students a chance to ask questions about artworks created, how pieces are displayed and sold, and how artists care for their artworks. I’ve even had artists come and visit my students and bring in selected artworks to showcase!

COLLABORATE WITH LOCAL ART GUILDS AND ORGANIZATIONS. There are a few local resources many

do not think of right away, but if you build connections with local arts guilds and groups, you can assist with creating community-building activities between local artists with your students. In contacting a local arts guild, you may find that many artists are more than willing to talk with your classes, visit or even showcase your students’ artworks within local galleries. In talking with the members of the art groups, students can learn more about presenting and preserving their own artworks for display and storage. Larger cities may have more access to art groups, but even in rural areas, you may find an art group or two willing to help in bringing more of the local arts to your students.

sites also contain interactive games that can be played individually (on tablets), or as a whole group. Using the Art Institute of Chicago’s website as another reference, they designed the “Curious Corner” site for students to learn about artworks through games, such as matching, designing, and following along with stories. Students can design masks, create a Cornell shadow box, and match faces to the paintings. The Museum of Modern Art (New York) also displays interactive games called “Destination Modern Art,” which visits many popular modern art pieces displayed in the museum.

The best way to showcase your students achieving the standard is to promote what you do with your students! If your school uses social media to share student achievements, why not share how they learned how to present and preserve their artworks? n

j a n u a r y 2 0 1 9 • 86 Y E A R S

Arts & Activities Contributing Editor, Heidi O’Hanley (NBCT), teaches art at Brodnicki Elementary School in Justice, Illinois. Visit her blog at www.talesfromthetravelling artteacher.blogspot.com. x

www.ar tsandactivities.com

Choice-Based Art

Edited by Nan E. Hathaway

Choice-Based Art classrooms are working studios where students learn through authentic art making. Control shifts from teacher to learner as students explore ideas and interests in art media of their choice. This concept supports multiple modes of learning to meet the diverse needs of our students. Learn more at teachingforartisticbehavior.org.

FAQ FOR TAB

ISN’T YOUR CLASSROOM CHAOTIC WITH SO MANY CHOICES?

BY NAN E. HATHAWAY

get questions all the time from art educators who are interested in Teaching for Artistic Behavior (TAB). Following are questions (FAQ) with practical answers based on my own personal experience in the classroom. I hope they will answer some of the questions you may have. HOW ARE YOUR SUPPLIES SET OUT? DO YOU HAVE CENTERS?

I arrange supplies in centers for student autonomy. In our studio, the centers are set up along the outside edges of the classroom so I can use the walls for signage and visual references. Students get their tools and materials and take them to nearby tables. The Clay Center and the Construction Center have their own, dedicated tables, but the others can be used flexibly, although there is one area for messy/wet materials (paint, papier-mâché, collage, pastels, etc.) and another for dry/clean materials (pencils, markers, fibers, paper-folding). HOW DO YOUR STUDENTS GENERATE IDEAS? We talk about how idea finding (problem finding) is an important artistic behavior. Together we explore various ways artists generate ideas. We do this through observing and relating personal experience, slideshows, gallery experiences, videos, and sometimes serendipity. I try to emphasize ways in which artists stay alert to possibilities, follow their curiosity, and dig deep for subject matter. I practice “transparent teaching” and expose how, where, and when I find ideas for my own artwork. WHAT ARE YOUR THOUGHTS ON USING A FULL CHOICE APPROACH as opposed to using themes? My favorite

approach tends toward full choice. When things are going well, there is a hum of student engagement, bursts of joyful discovery, and many possibilities in student work for me to “frame” for students or extend for greater depth and understanding. Occasionally student interest flags, or students show me that they need more scaffolding. This is when I might introduce a whole group theme, as a way to refocus attention, kick-start creative problem solving, and nudge learners to reach outside their comfort zones. HOW DO YOU TEACH SKILLS? I teach skills in a variety of ways. The first is through whole-group, brief mini-lessons, or what are sometimes called “5-minute demos.” This is content I feel everyone should know. Next, I teach in small interest groups. This allows me to go into greater detail for those who are interested in diving deeper. Next, I offer one-to-one instruction for needs and interests specific to individual student work or individual need. One of my favorite teaching methods is student-to-student, carried out in any of the above configurations (whole-group, small-group or peer-to-peer). www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

When students are new to my choice-based studio-classroom, centers “open” one at a time. Care is taken to familiarize students with the tools, materials and choices each center provides. Students are instructed in how the center and its contents are cared for. Clean-up and storage procedures are taught. Students let me know when they are ready to use and care for a new center by responsibly using and caring for each in turn. The more centers that are “open,” the more students can spread out around the room. A well-organized choice-based classroom feels and appears busy and active, but should not feel chaotic or overwhelming. If care for the studio or student conduct begins to unravel, that is the signal to re-teach procedures, reorganize supplies, limit materials, rework a center for easier access, or “close” a center until students demonstrate that they are ready for and can manage the responsibility you have given. WHAT ABOUT ASSESSMENT? Assessment is usually the first thing art teachers ask me about, when considering the idea of choice-based art. “How do you assess student work when everyone is doing different things?” This is not insurmountable, if you reframe the question and think a little differently about what is important to assess. Instead of assessing the students’ artwork, I assess students’ artistic behaviors. To what degree are students able to generate ideas, select materials, tools and techniques, work with focused attention, care for materials and tools, and reflect about their work, considering next steps and future direction for their work? What references or resources have students used in planning or creating their work? To what extent does the work reflect students’ interests, knowledge, or purpose? Have students decided to display or share their work in some way? It seems to me that these questions and observations are more in keeping with the new National Model Content Standards, and more accurately reflect what we want our students to know and be able to do. CONTEMPORARY EDUCATIONAL THEORY continues to drive movement toward the importance of choice and student ownership in teaching and learning. Choice-based teachers are ahead of this trend and positioned to mentor and share their work and knowledge with teachers who are ready to offer more student choice and autonomy. n

Nan E. Hathaway teaches art at the middle school level. She is a member of Teaching for Artistic Behavior Leadership Team, is coeditor, with Diane Jaquith, of “The Learner-Directed Classroom: Developing Creative Thinking Skills through Art,’ and Contributing Editor to Arts & Activities. Visit her blog: studio-learning. blogspot.com and the Teaching for Artistic Behavior webpage: teachingforartisticbehavior.org/ 7

Yearlong Secondary Curriculum Series | 3D INTRO ART

ARTICLE 5 OF 10

Pop-Up Art History by Debi West

ho doesn’t love a good ole fashioned pop-up book? I know I do and I have often used these to teach my students about relief sculptures. When I started working at the high school, I needed something new to keep my kids engaged with our mandatory art history units. I remember tr ying to come up with creative ways to help my students retain some of the ar t histor y found on their county assessments, but I was feeling rather stuck. I star ted looking through my ar t histor y books and closely studying my county standards and it just clicked! I went back to my pop-up book lessons from my elementar y teaching years and —BAM—“Pop-Up Ar t Histor y” was born! THE LESSON BEGAN with students looking through our ar t histor y

books and the Internet to seek out a few images from our past that they had a positive reaction too. I also had a list of ar t histor y works that they were required to know. From pre-historic ar t and Greek Classical, to more modern works, students spent several days searching for the “right” image to use. As they did their research, they also took notes to add to their final exhibits. These images were then drawn out via a grid, or by direct observation; I always left it up to them. I reiterated how important it was that they measured and looked at the image they were drawing because the more exact, the betClockwise from left: Pierre-Auguste Renoir, In the Meadow; Paul Klee, Twittering Machine; Jacob van Ruisdael, The Windmill at Wijk bij Duurstede; Juan Gris, Cubist Guitars and Still Life with Guitar combined.

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

ARTICLE 5 OF 10

3D INTRO ART CURRICULUM SERIES

ter. This portion of the lesson was all about the technical and wasn’t very creative based. Once the grid drawing was complete, students had the oppor tunity to get creative with where their reliefs could go. They chose the par t of the image that they wanted to POP of f of the page (as a relief) and drew that by tracing the first one. Once this was done, they cut this out (teaching your kids to cut and glue neatly is an impor tant par t of this lesson). ONCE THIS STEP WAS COMPLETE, stu-

dents then drew that piece again and cut it out so that, in essence, the final piece will pop of f the page three times. Students colored these in using ar t stix and colored pencils. This is when we began to discuss the technical side of the lesson as

Pop-Up Art History LEARNING OBJECTIVES

MATERIALS

High school students will … • learn about master artists. • learn to recreate their art and, through their creativity, these master works will become reliefs, popping off of the page. • learn about pop up, relief art techniques.

• 12" x 18" white drawing paper • Images of master artworks • Pencils, mixed media (markers, crayons, oil pastels, colored pencils, acrylic/watercolor paint, brushes, etc.) • Cardboard, craft knives (we used X-ACTO® brand), scissors, glue

PROCEDURES 1. Introduce the lesson by having students look at the history of art throughout time. If you want to limit this to a specific geographic area or era in time, that works too. 2. Students will design a piece of art, recreating a piece done by the Masters on 12" x 18" white paper or smaller. 3. Students will select areas within the work that they will recreate several times to make it pop off of the page, relief style, creating layers.

4. Students will cut these selected areas off and create cardboard squares to act as their pop-up backings. They can choose to add one, or up to three, depending on how much they want the piece to pop off. 5. Students will write a brief bio about the actual art and artist to be displayed with their final works. 6. Students will exhibit their work in a student exhibit to share with the community.

ASSESSMENT I use a project evaluation form for each lesson I teach. This allows my students to appropriately reflect on the learning at hand and leaves room for them to comment on the process and how they feel the final piece turned out. It also allows me to comment and give them a grade based on their learning and their final work. We also do in-process critiques using my “2 Glows and a Grow” model.

Go to artsandactivities.com and click on this button for resources related to this article.

students were once again looking closely at the ar t histor y reference they have selected and they color what they see. Finally, when all of the parts had been colored in well, students adhered cardboard squares to the back of the images and voilà, they created a cool pop-up effect. This lesson is always fun, successful and, most importantly, it keeps our kids engaged as it teaches them about art histor y and how to create

Grant Wood, American Gothic.

www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

a paper relief. Who knew art histor y could be so POP-ular? Next up … Clay Vessels! n Ar ts & Activities Contributing Editor Debi West recently retired from her job as depar tment chair and ar t educator at Nor th Gwinnett High School in Suwanee, Georgia. She owns and operates WESTpectations Educational Consulting and she and her husband now reside in Hilton Head, South Carolina. 9

CONTEMPORIZING

Famous Masterpieces by Jenny Knappenberger

have a certain fondness for contemporary artists with strong ties to classic artists. I am particularly attracted to the modern, yet familiar, stylings of their work, and have found that they make great study for today’s kids. These artists show students that art history doesn’t have to be “stuffy” or the study of a bunch of “dead guys.” They realize that we study the great masters because they continue to influence and inspire contemporary artists. That inspiration leads to vibrant and fun artistic forms of expression that are being practiced by some pretty cool, living, folks! I FIRST CAME ACROSS ADAM LISTER and his work on Insta-

gram a few years ago, and it just took a quick look around his online gallery before I was hooked. I love his reinterpretation of art classics, which he refers to as “Reductive Art History”—with a digital, but hand-painted, style. Not to mention how envious I am of his watercolor skills! Right away, I knew that Adam Lister and his work would be a great way to naturally and easily weave art history into a contemporary art lesson. So, I jumped at the chance when I was contacted by an elementary school teacher I volunteer for, who asked if I could help her develop an art project for her fourth-graders that could be used for their upcoming art fair (her school did not have its own art teacher). I immedi-

Gabe, grade 2. René Magritte: The Son of Man.

ately thought that Adam Lister and his fun, colorful, modern style would appeal to the young students. I was right! Adam’s art immediately struck a chord with them. LEGO® characters and the graphics from the game MINECRAFT™ instantly came to their minds. This grabbed their attention right away, and raised their interest and anticipation for our lesson. I STARTED THIS LESSON by showing students Adam Lister’s version of Starry Night. I asked them questions such as: Does this artwork remind you of anything? Does this artwork remind you of any famous artists? Or famous artworks? What medium do you think this artist used? Many students commented that they thought this work reminded them of a famous piece of art but they weren’t sure which one. The children I was teaching don’t Thomas M., grade 2. Grant Wood, American Gothic. have a regular art teacher— 10

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

they get exposure to art from volunteers like myself and their classroom teacher (who is passionate about infusing her lessons with art). After showing the students Adam’s work, I showed them Vincent van Gogh’s The Starry Night. For this artwork I asked them: What do you know about this painting? What do you know about this artist? What medium do you think this artist used? Students loved talking about this Adam Lister (American; b. 1978). The Vincent van Gogh (Dutch; 1853–1890). Starry Night (After Van Gogh), 2012. famous artwork and even though they The Starry Night, 1889. Oil on canvas, Image courtesy of the artist. View more of 29 x 36.25". Musuem of Modern Art, couldn’t all remember the name of the Lister’s work at www.adamlistergallery. New York. Acquired through the Lillie P. artist almost all of them recognized the / Public domain. com/gallery.html. See p. 37 for a larger Bliss Bequest. © reproduction of this artwork. image as familiar. Their discussions were a natural segue into the next part I had planned: to compare the two artworks side by side. Students talked ONCE STUDENTS HAD THEIR ARTWORK SELECTED (from the about which artwork they liked better, Adam’s or Vincent’s. six I had brought for them to use) they started drawing the Many students thought it was neat that a living artist would famous masterpiece using only geometric shapes. I told them find a new way to remake such a famous piece of art. to try and use only squares and rectangles. This was chalSince my time was limited, I had pre-printed a variety of lenging but when I reminded them about their observation of famous artworks for students to use when drawing their the art looking like LEGOs this helped them visualize how to own masterpiece—Adam Lister style! (If you have more break down curved stapes into geometric ones. time, you could let the stuAfter students drew their design, they started painting it. Since Adam so beautifully works in watercolors, I provided dents themselves research famous artworks and let watercolors for the kids to use. We talked briefly about laythem select the piece they ering colors to get darker colors and using more water for wanted to re-create.) lighter colors. I encouraged them to make as many shades of one color as they could. No doubt their respect for Adam went Isabelle S., grade 2. up a lot after trying to master watercolors! Johannes Vermeer, Girl with a Pearl Earring. Once students finished, and their artwork was dry, we hung up their final work for a local school-wide art show. It was a joy to see all the finished pieces hanging up side by side and I dare say the students won’t soon forget about Adam Lister! As art educators we are often looking for meaningful ways to infuse our lessons with art history. I hope this lesson inspires you to teach your students about Adam and maybe even motivate you to look around for up-and-coming or local artists and see if you can teach your students about these masters! n Jenny Knappenberger is an art educator and blogger from Tucson, Arizona, Visit her at: blog.artwithjennyk.com LEARNING OBJECTIVES Elementary students will … • learn about contemporary artist Adam Lister and his style. • compare Lister’s version of the painting The Starry Night to the world-famous masterpiece by Vincent van Gogh. • choose a classic masterpiece and create a contemporary version of it in the style of Adam Lister.

NATIONAL ART STANDARDS

• CREATING: Conceiving and developing artistic ideas and work. • PRESENTING: Interpreting and sharing artistic work. MATERIALS

• Access to art books or the Internet • Pencils, rulers and erasers www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

• •

Watercolor paints and brushes Watercolor paper (size optional) 11

s part of a schoolwide initiative to study western Africa, I wanted to plan an exploration of African masks that not only highlighted the variety and beauty of the art form, but also opened my students’ eyes to the perspectives and experiences of the African people. Unlike the art of the West, African art is a functional and necessary part of everyday life. Africans don’t typically think of masks as works of art but as a vital part of a costume for a social or religious ritual. By examining the masks of Africa and the ceremonies they were used for, we can begin to understand how these people communicate with the mystical spirit world.

EXPLORING WEST AFRICA. After examining a map, we

identified the countries of Ghana, Nigeria and the Ivory Coast in western Africa. Our campus implemented a unit on western Africa that connected all subject areas to provide an in-depth glimpse into this fascinating culture. For the visual art portion of this unit, I chose to focus on the masks of the region. African masks are considered one of the greatest

works of art to come from Africa and are used as part of a ceremonial costume. They are used in religious and social events to represent the spirits of ancestors or to control the good and evil forces in the community. They come to life, possessed by their spirit in the performance of the dance, and are enhanced by both the music and atmosphere of the occasion. Some combine human and animal features to unite man with his natural environment. This bond with nature is of great importance to the African and, through the ages, masks have always been used to express this relationship. FINDING MEANING. As students begin to create a sketch for their mask, remind them to focus on a meaning. Everything from the shape of the mask, the patterns, textures and materials are used to create a meaning for the mask so the person who wears it will transform during the ceremony. I like to provide students with many examples of different masks so they can generate ideas easily and effectively. I required students to create a minimum of three mask designs that used the above-mentioned elements of art to create a mask with meaning.

by Matt Mazur

DRAWING THE MASK. Students began by folding a 12" x 12" sheet of white drawing paper in half. I demonstrate for the students how to draw half of the mask centered from the fold. I use the saying “Draw it light until it’s right” so students have an easier time laying out their design. Once it is “right”, students trace over half the mask to make sure the lines are very dark with the pencil lead. We then folded the paper in half and rubbed over the drawing with the handle of a pair of scissors. The lead will transfer to the other half of the paper creating a perfectly symmetrical and balanced mask. The paper is then opened and all the lines are retraced to become more visible. After the mask is drawn, the next step is to color with oil pastels. I begin with a demonstration of how to properly use oil pastels so the masks don’t end up looking like a typical crayon coloring. Some of the techniques I show the students are color blending with heavy and light pressure, color mixing, and creating gradations from one color to an analogous color. I have sheets of scrap paper ready so students can practice and become fully confident before proceeding to the final mask. I also like to review color schemes with the class so everyone is aware of how to use color to be more effective and successful. I allow my students to color however they want with the techniques

> 12

Claire

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

LEARNING OBJECTIVES Middle school students will … • recognize and appreciate the unique characteristics and meanings of African masks. • learn about and gain an appreciation for the cultures of West Africa through the study of their masks. • create an African style mask that shows an understanding of balance, pattern and texture. • develop and improve oil pastel and sgraffito techniques.

NATIONAL ART STANDARDS

•

CREATING: Conceiving and developing new artistic ideas and work. • PRESENTING: Interpreting and sharing artistic work. • RESPONDING: Understanding and evaluating how the arts convey meaning. • CONNECTING: Relating artistic ideas and work with personal meaning and external context.

MATERIALS

• Examples or photos of African masks • 12" x 12" white drawing paper • Pencils and sketch paper • Oil pastels and wood stylus sticks • Scissors

Caitlin

Go to artsandactivities.com and click on this button for resources related to this article.

the detail and finish of a mask usually has a meaning as well. For an example, I showed students a mask that represented beauty and had a very smooth and shiny surface. EVALUATION. The connection of Afri-

Sophie

Ellen

and methods I have shown them. The only requirement is that they must keep the mask symmetrical with their use of color— so whatever is done on one side must be repeated on the other. SCRATCHING THE SURFACE. Sgraffito is a technique mainly used to decorate pottery. A glaze is applied and using a sharp tool, you can scratch away the glaze to create a pattern or texture on the surface. We applied this same technique to the mask designs. Once a mask is fully colored, students could take a wood stylus and carve patterns into the different facial features of the mask. The designs of African masks are usually meant to portray a religious or social belief; the designs can be meant to celebrate beauty, power, courage, health or nobility. Because of this meaning, lines and shapes should be arranged symmetrically to evoke that quality. African masks are also highly textured— www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

can masks to dance and meaning can create some great opportunities for writing or performances. Check in with your theater or language arts teachers and see if some connections can be made. If not, you can have students write about their classmate’s masks and the meanings they believe are trying to be communicated. Ask questions like “What message does the artwork send?” or “How do the visual qualities of the mask contribute to the meaning and message of the artwork?” This project checks all the boxes for a great cultural lesson; covers the National Art Standards, it’s cross-curricular, and students will LOVE the fun sgraffito technique on their masks. Students will gain a powerful and honest view of African culture that will give the masks a deeper meaning and make this a truly memorable experience! n Matt Mazur is an elementary and middle school art teacher at Dealey Montessori Vanguard and International Academy in Dallas, Texas. 13

they explored an interactive Nearpod presentation about Izzy, her sister Ailbhe, and the wonderful invention Ailbhe created—Izzy Wheels—artistic covers that snap onto the wheels of a wheelchair! Within the Nearpod presentation, students visited the Izzy Wheels website (www.izzywheels.com), looked through the various wheel cover designs, and picked their favorite. Then, using the elements and principles of art, students described their chosen design. At the end of the presentation, they brainstormed their own designs and sketched them either in one of the Nearpod slides or in their drawing pads. They could choose to create either a realistic, abstract or non-objective theme, which would (1) represent something about themselves, and (2) be something they thought would appeal to others if they were to actually sell them as an Izzy Wheel.

Nava

ONCE THE SKETCHES WERE APPROVED, I handed out 16-inch cardboard rounds as well as 4.5-inch plastic lids. I taught them how to find the center of the cardboard by using a ruler. Next, they placed a lid in the center and measured around it to make sure it was equidistant from all sides. If it was not in the middle, they simply adjusted the lid a little. Once the lid was centered, they traced it with a pencil. Students could then choose if they wanted to divide their cardboard rounds into even sections or if they wanted a more free-form feel. If they wanted sections they used a ruler to draw a line through the middle, creating two halves. Next, they put the right angled corner of the plastic triangle in the center of the cardboard and drew a perpendicular line, which

> >

AFTERWARDS, STUDENTS MOVED to their laptops, where

“I wanted to show happiness and optimism in my wheel design because I want people to think on the bright side. I was inspired by the saying ‘Every cloud has a silver lining,’ so I outlined the clouds with a silver Sharpie.” —Nava

magine that you own only one pair of shoes. Nothing fancy, just a plain black pair of canvas sneakers. They fit you all right and they get you where you need to go; they are perfectly functional. “One day, you are invited to go to your friend’s birthday party. You really want to go and dress up for the party, but you only have that one pair of shoes to wear. If you go to that party with those boring black shoes, you’ll probably feel bad because you just know that everyone will notice them as soon as you arrive. “It won’t matter that you are wearing a totally cool shirt or that you are so much fun to be around. In your mind, you believe that people will only think about your shoes. This is how a little girl named Izzy felt about her wheelchair.” My fifth-grade students closed their eyes as I read to them. There was absolute silence when I finished. Then they asked if it was a true story. “Yes, the part about Izzy feeling that way about her wheelchair was indeed true,” I told them. We spent some time discussing their feelings and ideas about Izzy, her sister Ailbhe, and Izzy’s wheelchair.

Aiden Marianna

IZZY WHEELS

Connecting On an Emotional Level

by Anne M. Hoffman

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

LEARNING OBJECTIVES

NATIONAL STANDARDS

Upper-elementary students will … • learn about Izzy Wheels: what they are and why they were created. • be able to talk about an Izzy Wheel design using the elements and principles of art/design. • create either an original realistic, abstract or non-objective design for their own Izzy Wheel. • be able to discuss their final pieces using the elements and principles of art/design.

• •

CREATING: Refine and complete artistic work. PRESENTING: Develop and refine artistic techniques and work for presentation. • RESPONDING: Perceive and analyze artistic work. • CONNECTING: Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

MATERIALS

•

Handouts of four inner-wheel spoke designs • 16-inch cardboard rounds with white coating on one side • 4.5-inch plastic lids, 10-inch plastic drawing triangles

• •

18-inch rulers Color media: crayons, markers, oil pastels, paint markers, etc. • Transfer paper • Glue sticks, scissors

Go to artsandactivities.com and click on this button for resources related to this article.

IZZY WHEELS

divided the cardboard into quarters. If desired, students could further divide those quarters one more time by measuring the midpoint of each section. WHEN THE LAYOUTS WERE COMPLETE,

Designed by students sketched their designs onto Camille Walala the cardboard rounds. If they had an image they wanted to repeat, I gave them a piece of graphite transfer paper (which they thought was the coolest thing ever!). After sketching, students chose the type of art media they wanted to use to add color. Most of them chose paint markers because of their bold colors. Some, however, preferred Sharpies, oil pastels or crayons. I like to give the students a menu of choices so they can use the materials they enjoy the most. Once their designs were completely finished, students selected an inner-wheel spoke from the four shown on a handout. They cut out the image and used a glue stick to adhere it to the center of their cardboard round, where they had originally traced the plastic lid. At that point, they could leave it as-is or add color to it to make it stand out more. www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

Photo by Ailbhe Keane.

Josh

Photo by Ailbhe Keane.

www.izzywheels.com

TO COMPLETE THIS ASSIGNMENT, the children wrote art-

ist statements about their Izzy Wheels that included the “What” (a description of their artwork), the “How” (how they created it, the tools and techniques they used, etc.), and the “Why” (the thinking behind and/or purpose of your artwork). After reading many of the inspirational messages the kids had written, I realized that this lesson plan was a success not only because the kids produced some really great artwork, but also because it allowed the children to connect at an emotional level. n Anne M. Hoffman teaches art and is the secretary at Shabonee School in Northbrook, Illinois. 15

COMMUNITY

connections

or more than a decade, Ottawa has celebrated KINDNESS WEEK. The week-long official activities include promoting charitable giving, celebrating volunteerism, expressing words of thanks, acknowledging the kindness of the caregivers in our community and extending acts of kindness to those who have been kind to others. Under the leadership of Rabbi Reuven Bulka, community leaders and volunteers employ their resources, experience and enthusiasm and encourage people in the Ottawa-Carleton region to “choose to be kind.” The initiative has the full support of Mayor Jim Watson and Ottawa’s City Council. Along with encouraging citizens to donate blood, register as organ donors, and become community volunteers in programs for the needy, Kindness Week encourages the public to express thanks to such folks as coffee shop and restaurant staff, firefighters, police officers, security guards—and many more—for services rendered and to acknowledge those who provide care and services for others. One of the amazing things that happens during Kindness Week, is that people who are waiting in line for coffee, donuts or groceries often find that the person ahead of them in line, has paid for their goods. To facilitate these efforts, organizers have introduced a Facebook page (www. facebook.com/kindottawa/), featuring a Kindness Calendar and a Kindness Exchange, and encourage agencies to post opportunities, requests, activities and events. They also ask individuals to share stories about kind acts they’ve witnessed, experienced or performed in the community.

leton region. Students have their choice of medium, and their efforts are posted to Kindness Week Facebook page where the winner is determined by popular vote, and also receives a donation made to a charity of his or her choice. The winning entries are acknowledged in the media and are used as e-cards and printed as postcards to promote the event. I am proud that a number of Merivale High School students have won the secondary school level over the past decade, and some are featured on these pages. When assigning this project to my graphic-design class, I make a point of mentioning that many of the world’s best artists make a concerted effort to do pro bono work for worthy causes. I try to impress on my students that it is their responsibility to use their artistic gifts to give something back to their community; and, each semester, my classes do one project in this spirit.

WHERE DOES ART COME IN? Kindness Week also sponsors an annual illustration contest, which invites participation from all the schools in the Ottawa-Car2018 Grade 7–12 winner: Elissa Paquet.

2015 Grade 7–12 winner: Brian Ernst.

Trya Little Kindness by Irv Osterer

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

I try to impress on my students that it is their responsibility to use their artistic gifts to give something back to their community ... and each semester, my classes do one project in this spirit.

2016 Grade 7–12 winner: Ko-chi Chen.

2014 Grade 7–12 winner: Olena Vakulenko.

In every city, there are events sponsored by service groups, churches, synagogues and mosques, and health care organizations that can always use some assistance with posters, or with drawings and photos that publicize an important cause. I encourage all art teachers to try and be involved in these initiatives. And when these acts of kindness are acknowledged, students are proud to know that their efforts have helped. Many thanks to Julie Lefrançois, Coordinator, Business Support and Event Registration for United Way | Centraide Ottawa for providing this opportunity to our students and allowing them to contribute creatively to Kindness Week. n Arts & Activities Contributing Editor Irv Osterer is Department Head – Fine Arts and Technology at Merivale High School in Ottawa, Ontario, Canada. www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

Art Signing!

Hold an

by Jenna Fergus

ften it seems as though the moon is easier to reach than a full-tuition scholarship to study art. So, when we heard that the University of Memphis had awarded one to student, Jessica Williams, we were over the moon. Something special had to be done to celebrate! About that time Lynn Williams, Jessica’s Mom, approached me. “What do you think about an art signing?” she asked. My response: “That’s a thing?” I didn’t mean for my reply to be skeptical, but I had never considered such an event. Immediately the planning began. Our school’s Fine Arts Director, Dr. J.D. Frizzell was our first contact. Some of the choir and theater students began having signings in 2016. He therefore knew the best way to process the event. For years, athletes were celebrated for their high achievements in football, basketball, track, etc. Having an art signing was a no brainer. Jessica’s work in textile transfer drawings had received two Scholastic Art and Writing Gold keys for her portfolio and single entries. The University of Memphis awards three full scholarships in the visual arts each year. Jessica’s high GPA, coupled with her art awards drew attention from Dr. Richard Lou, Chairman of the Art Department of the University of Memphis. He said, “An art signing is a terrific idea!”

At the signing, I spoke about Jessica and her accomplishments. I could not have been more proud.

Jenna Fergus teaches high school visual arts at Briarcrest Christian School in Eads, Tennessee.

Everyone in attendance watched as Jessica signed her contract with the university for her art scholarship.

THE DAY OF THE EVENT ARRIVED, and Jessica’s father, Michael Williams, came in and put up streamers, covered the cabinets and brought a beautiful cake decorated for the occasion. “When your child is involved in the ar ts, you accept that they may not receive the same recognition as others,” he said. “But ever y once in a while, life surprises you and you get to do something special like planning an ar t signing for her during her senior year in high school.” Many of the school’s administration attended the celebration, Headmaster Steve Simpson, Eric Sullivan, High School Principal, Lynn Williams, the Director of Technological Instruction and Accreditation, Director of Communications, Beth Rooks, along with all of Jessica’s art teachers and many of her friends. “It meant the world to know that my hard work in art was being appreciated and celebrated just as much as someone else within the area of sports.” said Jessica, with tears in hear eyes. “As an art student, it is rare to feel such a strong sense of support within our field.” In regard to the reasons to hold an art signing, Dr. J.D. Frizzell says it best. “The benefits of holding an art signing are many: it creates momentum in the school for the arts, the individual student’s achievements are recognized, and it shows the teachers that their levels of instruction have provided for success. It galvanizes us to continue to pursue excellence in our teaching.” Advocating for our work in visual art can be daunting. Having an art signing is one way that brings attention to all the best parts of what we do as art educators. Add some “oomph” to your advocacy, hold an art signing for your outstanding students. n

TOP 4 THINGS TO DO WHEN PLANNING AN ART SIGNING 1. 2. 3. 4.

Reserve your space. Jessica wanted to have her signing in the art room. Don’t forget to ask for tables, trashcans, and backdrops for taking photos. Send out printed and digital invitations. Beth Rooks, Director of Communications, sent out notifications on all the school’s social media outlets affiliated with Briarcrest Fine Arts and posted pictures on the webpage before and after the event. Don’t forget to invite all the administrators from the school and the college. Just like with an art show, a small postcard makes a great keepsake. Don’t forget to arrange for some delicious refreshments to share. Advocacy can take various forms—even a party!

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

A&A Art Print: Respond and Connect Alfredo Arreguín. Heritage/Herencia, 2005

“I have selectively maintained and transformed visual elements from my Mexican heritage as well as the American experience, resulting in the kaleidoscopic vision of shifting layers of pattern. My diversity of brilliant colors, the repetition of motifs, and the use of line have helped me develop a personal calligraphy I use in my art.” Alfredo Arreguín

MAIN ART CONCEPTS: Color • Unity • Pattern • Composition • Portraiture • Social/Political Commentary

•

EMILIANO ZAPATA (1879–1919): Zapata was the revolutionary hero and the first leader of the Mexican Revolution. From 1910–19, he led the Liberation Army of the South, through guerrilla tactics aimed at redistributing the land from the rich and returning it to those who worked it.

• •

•

ARTIST COMMENTARY: “I ... share Zapata’s ideals with my brushes to express that the battle for justice and freedom should prevail at any cost. It is better to die on your feet than to live on your knees.” HERENCIA: The word “herencia” also translates to “inheritance” in English, but in Spanish, the word means much more when applied to the meaning of the painting. It also refers to the legacy of the cause of the Mexican Revolution, the connections between leaders as they follow one another, and the inherited values and tactics used by both Zapata and Subcomadante Marcos. BIOGRAPHICAL NOTE: The artist Alfredo Arreguín was born in Morelia, Michoacán, México in 1935. He moved to Mexico City at age 13 and, at age 24, immigrated to the United States. He received both his BA and MFA from the University of Washington in Seattle. His work is in the permanent collections of The National Museum of American Art and the National Portrait Gallery. Author and art historian, Lauro Flores, has published a book about Arreguín titled Alfredo Arreguín: Patterns of Dreams and Nature. Herencia is depicted on the cover of the second edition.

•

• •

•

LANGUAGE ARTS: Onomatopoeia: About 30 miles from where Arreguín grew up is the city of Tzintzuntzan (“place of the hummingbirds”). The word (“zeent-ZOON-zahn”) imitates the sound of hummingbird wings as the tiny birds dart between flowers. According to Arreguín, the hummingbird symbolizes “the souls of the warriors in Aztec mythology.” SYMBOLISM: The predominant color in the painting, red, speaks directly to the heat of anger and blood. The figures on horseback (“Caballeros”) are taken directly from Arreguín’s childhood impressions of an Eastertime Mexican tradition that involves the burning of effigies of Judas. “I remember as a child, the burning of the apostle who betrayed Jesus, but also evil and corruption, which was what Zapata was fighting against,” Arreguín says. The blue, smoky-looking, cloud-like forms are symbolic of exploding firecrackers.

BIOLOGY: Ravens and Crows: All ravens are crows, but not all crows are ravens. Crows comprise the family of “corvidae” which also includes magpies and jays. The term for a large group of crows or ravens is not a “flock,” but a “murder.” Arreguín says that “ravens are the communicators between life and death.”

•

SUBCOMANDANTE MARCOS (b.1957): Until he announced in 2014 that he “no longer exists,” Subcomadante Marcos was the leader of the Zapatista National Liberation Army. He focused much of his work in the state of Chiapas supporting Maya and other indigenous people disenfranchised by the Mexican government. He is a well-educated, articulate writer who has published critiques of suppressive governments.

•

ANCIENT HISTORY: Maya Culture. The two images on Subcomandante Marcos’s balaclava refer to the ancient Maya culture (600 BCE–600 CE). The Maya were very advanced in mathematics, art, calendar making, and writing. Evidence of their advanced society can be seen in the spectacular stone carvings and ruins of their architecture throughout Mexico. ARTISTIC GENRE: Arreguín’s art contains patterns and symbols that bridge Mexican and Northwest Coast imagery. His style is sometimes referred to as “pattern painting” or “magic realism.” There is no formal school his work falls into, since it is Arreguín’s own language that layers meaning upon meaning, culture upon culture, as he sees fit to express ideas about people, nature, places and events.

This symbol means there are resources related to this article available online. Visit artsandactivities.com and click on this button to explore these topics further. www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

JANUARY 2019

Alfredo Arreguín (American; b. 1935). Heritage/Herencia, 2005. Oil on canvas/óleo sobre lienzo; 60" x 48". National Museum of Mexican Art Permanent Collection, 2011.43. Gift of the artist. Photograph by Richard Nicol.

In the Studio: Create and Present Annotations and lesson connections on these pages by Tara Cady Sartorius, Program Director, Alabama Arts Alliance

GRADES K–6

GRADES 7–12

LAND AND SPIRIT. The students of Tera Stockdale used the

ART AND REVOLUTION. Alfredo Arreguín states that he uses his paintbrushes as agents of expression to support social and political justice. In the case of Julie Rivard’s students, they used numerous materials to express their ideas about some very serious socio-political issues. “Students looked at the artwork of Diego Rivera and contemporary artists who create artwork with social or political messages. They were challenged to create their own art that communicated their view on a social or political issue.”

inspiration of work by artist George Littlechild to express both pride in their land and appreciation of their ancestry. Their expressive mixed-media pieces are eye-catching in their complexity. Stockdale states, “Students read Littlechild’s book, ‘This Land is My Land,’ about his Native American heritage and how it relates to his contemporary artwork. Students discussed his use of imagery, symbolism and media to represent his cultural history. Students then reflected upon their own ancestry through visual narratives using photographs and 2D images along with 3D objects to create their works of art.”

Art by fifth-grade students of Tera Stockdale at Scottwood Elementary School in Columbus, Ohio. Artwork by students of Julie Rivard when she taught at Merced (California) High School.

When asked how she might change the lesson, Stockdale says, “I have added a written narrative component at the beginning of the lesson using George Ella Lyons’ ‘Where I’m From’ poem to get students thinking about the imagery that really connects to their history. The poem is a good bridge in helping students connect narrative to their visual work.” She has already modified this lesson for high school students.

The works are varied, and most students chose to address social and political issues that could be applied globally. Other students opted to make statements about personal conditions such as feelings of depression, isolation, or loneliness. Rivard is a standout for encouraging and allowing her students to express themselves freely in her class. In fact, her positive leadership must have impressed her school district, because she is now a school principal!

NATIONAL ART STANDARDS: Grades K–6 CREATE: Identify, describe and visually document places and/or objects of

NATIONAL ART STANDARDS: Grades 7–12

personal significance.

CREATE: Visualize and hypothesize to generate plans for ideas and directions

RESPOND: Interpret art by analyzing characteristics of form and structure,

for creating art and design that can affect social change.

contextual information, subject matter, visual elements, and use of media to

investigation of an aspect of present-day life using a contemporary practice

identify ideas and mood conveyed.

of art or design.

•

Shape an artistic

RESPOND: Hypothesize ways in which art influences perception and underHow to use the A&A Monthly Art Print: Carefully unbend the staples at the center of the magazine, pull the print up and out of the magazine. Rebend staples to keep magazine intact. Laminate the pulled-out section

standing of human experiences. CONNECT: Shape an artistic investigation of an aspect of present-day life using a contemporary practice of art or design.

and use it as a resource in your art room. — Editor 22

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

COMMUNITY

connections

Help Endangered Species with Art F

or many young people, art is an ideal way to express their feelings and knowledge about the world around them—including the environment. That was a key reason the Endangered Species Coalition introduced the Saving Endangered Species Youth Art Contest, an integral part of the 14th annual Endangered Species Day, which will be celebrated on and around May 17, 2019.

THE YOUTH ART CONTEST provides K–12 students with an opportunity to learn about endangered species and express their knowledge and support through artwork. More than 1,500 young people from throughout the country entered the 2018 contest and we encourage teachers and their students to participate in 2019. “Drawing and painting animals is a great way for

Grades 9–12 Semifinalist: “Horned Lark, Streaked,” by Madison Alldridge.

www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

Grade 6–8 winner: “Kangaroo Rats,” by Maggie Wu. Grades 3–5 winner: “Florida Panther,” by Kyle Xu.

Grand Prize: “Hawksbill Sea Turtle,” by Brandon Xie, grade 4.

First Place: “Humpback Whale,” by Erin Dong, grade 9.

Grades 6–8 Semifinalist: “Jaguar,” by Katelynn Todd.

my students to sharpen observational skills and practice the art elements of color, texture and form as they worked on their paintings,” said Deborah Greenwood, an art teacher at Cape Cod Lighthouse Charter School (Cape Cod, Mass.), who participated in the 2018 contest. “This project was also a great way to connect art to science.” “This is usually my students’ first time entering any type of contest,” said Lori Katz, a teacher in the Talented and Gifted program at Findley Oaks Elementary School in Johns Creek, Georgia. “It helps incorporate art into their learning; allowing the animal to ‘come alive’ in their minds.” Brandon Xie, the 2018 contest grand prize winner, confirmed that it can be a valuable learning experience. “It helped me learn a lot about endangered species,” said the 9-year-old fourth grader from Lexington, Mass. “I needed to look up the lists to find where different endangered animals live. I was inspired (actually, angr y) when I saw the sea turtles trapped in nets. I also learned more, including how pollution hurts animals.” THERE ARE MANY WAYS to introduce

the contest: “My students learned about endangered animals and then researched the animals they wanted to draw,” said Lori Katz. “They became experts on their animals before drawing, including why they are endangered. “I distributed lists of endangered species and encouraged my students to do some online research, as they viewed images of a species they 24

might consider for their paintings,” added Deborah Greenwood. “They also viewed art created by other students whose work was selected for the previous contest and made important connections with students from other regions.” Engaging the class in a discussion about endangered species conser vation is also a good way to prepare. For example, discussion prompts can include: “What is an endangered species? Why is it important to protect endangered species? What is your favorite species? What can we do to help protect them?”

“I reminded the students that they might find out their chosen species could actually come off the endangered list and we discussed what would be the reasons,” said Greenwood. “They also had great discussions about some of the endangered species found in their own region of Cape Cod, Massachusetts.” Because the artwork is submitted electronically (see “Contest Details” on opposite page), teachers can later display their students’ original artworks as one way to recognize Endangered Species Day, on or near May 17, depending on schools’ end of year schedules.

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

CONTEST DETAILS

• The contest is open to young artists (K–12) residing in the United States. Young artists who are home schooled and members of youth groups are also eligible. • Artwork must depict threatened/endangered species within the U.S., or a previously listed species that is now considered recovered or a candidate species. • Artwork must be submitted electronically by March 1, 2019. • Winners will be chosen in four categories: K–Grade 2, Grades 3–5, Grades 6–8 and Grades 9–12, and will receive plaques and art supply gift packs. In addition, one grand prize winner will be honored at a reception in Washington, D.C. in May 2019 and also receive a special art lesson from a professional artist. Grades 6–8 Semifinalist: “Prairie Dogs,” by Hyunjin Park.

DEADLINE: March 1, 2019

> >

Grades 3–5 Semifinalist: “Red-cockaded Woodpecker,” Serena Zhu. Grades 9–12 semifinalist: “Columbian White-tailed Deer,” by Janelle Ng. K–2 winner: “Blue-tailed Skink,” by Sean Lam.

Go to artsandactivities.com and click on this button for resources related to this article.

Visit www.endangeredspeciesday.org for more information, including complete contest guidelines, an art lesson plan, and the 2018 contest winners’ and semifinalists’ artwork. The deadline for submissions is March 1, 2019. n The Endangered Species Coalition is a national network of conservation, scientific, education, religious, sporting, outdoor recreation, business and community organizations—and more than 150,000 individual activists and supporters—all dedicated to protecting our nation’s disappearing wildlife and last remaining wild places. www.ar tsandactivities.com

86 Y E A R S •

januar y 2019

media reviews

LEONARDO DA VINCI: Meet the Artist, by Patricia Geis. Princeton Architectural Press, $24.95. Meant for third-graders on up, this hardcover is fun! Loaded with interactive features, it also takes into consideration most juveniles’ interest in robots. Not available to the public at the time of this writing, it’s an entertaining and educative book. This reviewer enjoyed playing with the reflecting foil, the tabs, and much more. There are three per forated pages in a pocket with elements from the pop-up of Florence. Kids can reproduce a por tion of that 3D model to make a paper-doll town of their own. Geis has even provided the Arno River. Historical anecdotes can be found

“Uniting the world in and through art education.” IRELAND JUNE 17-25, 2019 • $1750 + AIRFARE JOIN TRINA HARLOW & RANDY ROBART FOR NEEDLE FELTING, LACE, AND CULTURE IN

IRELAND GLOBAL ART EDUCATION COUNCIL

globalartedcouncil@gmail.com @globalarted Facebook: Global Art Education Council

BOOKS • DVDs Paula Guhin

•

PRINTS

•

RESOURCES

throughout the book, and many are most compelling. For example, Leonardo’s superb anatomical studies weren’t even published until 1900! And did you know his fate was changed by Verrocchio when Leonardo was only 14 years old? Another tale centers on The Last Supper and how long it took. “The monks were quite bothered by all the painting going on in the dining hall.” Understandable with the scaffolding and all. (Don’t miss Leonardo’s excuse for the delay.) Five “mini-books” inside the pages provide even more information on the Renaissance, Florence, and Leonardo himself. On the Portraits spread, a tagboard frame holds prints of not only the obvious choice, Mona Lisa, but also Lady with an Ermine and yet another, the first portrait da Vinci ever painted. Children and adults alike will be dumfounded at its perfection. It is believed that he painted only 13 works over his

Share your Lesson Plans with other

Teachers! To learn how, visit artsandactivities.com/submit and select “Writer’s Guidelines”

lifetime, and three were unfinished. What a shame that only about half of da Vinci’s journals have survived. Containing his genius for architecture, botany, math, music, machines, and so much more, they might have advanced our world more rapidly.–P.G. LEARNING THINGS: Material Culture in Art Education, by Doug Blandy and Paul E. Bolin. Teachers College Press, $32.95. The two professors/authors (one at the University of Oregon and the other at the University of Texas at Austin) have created a text for the teaching of art in terms of common items. While many of their instructional methods can be used in K–12, we believe a college course could benefit by adopting this book. It’s a dirty secret that accumulating things—our “stuff”—has become a problem for many. Maybe not so secret, with the glut of books on the subject. The authors give lip service to hoarding on page 41. They are attentive to technology, of course, with one chapter dedicated to the subject, which pervades our daily lives. The blackand-white photos in the paperback suggest its serious-mindedness. Bolin and Blandy offer cases-in-point, projects, and art education approaches that work. Each chapter ends, conveniently, with a conclusion. And what of the future? In the past, “superiority has been given to the visual.” And indeed, many artists create art that’s solely visual. And so the authors delve into multisensory works, exhibits, and sites of 10 artists or teams. We haven’t yet mentioned the profusion of titles and other resources at book’s end. Too, the 20 specific activities in the conclusion are of great benefit. Use them when exploring objects and their personal value.–P.G.

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

shop talk

Simplify Sculpting With

Rigid Wrap plaster cloth

SASQUATCH BOOKS With a few strokes of brush and ink and the simple instructions found in Super Simple Sumi-e: Easy Asian Brush Painting for All Ages, students can learn the art of this traditional Asian painting and capture the spirit of many charming animals—from pandas to dragons! Author Yvonne Palka is an award-winning sumi-e artist, a retired college professor, grandmother, artist, and naturalist. She loves introducing children and adults to the wonders of the natural world and the beauty of their own creativity.

CREATIVITY STREET The 24-count WonderFoam® Multicultural Face Masks set from Creativity Street® includes four different faces in different colors, which can be decorated with markers or paints, and glued. The sizes of the masks vary from 7–8 inches tall. The masks contain no allergen.

www.creativitystreet.us

Just add water! Air dries!

www.ActivaProducts.com 1-800-883-3899

www.sasquatchbooks.com

LAKESHORE People Colors® Crayons “come in just about all the colors that people do!” Children can draw family, friends, people from history, famous artists, as well as self-portraits—whether the subjects are ebony, almond or somewhere in between. Each pack includes 24 crayons in 24 different “People Colors”—all in a handy plastic storage case. Available in a single pack or as a set of 24 packs.

www.lakeshorelearning.com www.ar tsandactivities.com

WHEREVER you see this symbol, it means there are RESOURCES related to this article AVAILABLE online. VISIT artsandactivities.com and click on this button to EXPLORE these TOPICS further.

86 Y E A R S •

januar y 2019

volume index

In every January and June issue, Arts & Activities magazine publishes a Volume Index. The Index lists, by category and author, the articles that ran during a particular five-issue volume. We recommend keeping all of A&A’s Volume Indexes on your computer, in a binder or in a file for reference when looking for articles dealing with a particular topic, medium, artist, art technique, and so on.

VOLUME 164, SEPTEMBER–JANUARY 2019

A&A ART PRINTS Arreguín, Alfredo, Heritage/Herencia, Jan., p. 19 Church, Frederic Edwin, The Parthenon, Sept., p. 19 Art Print: Kühne, Hendrikje and Klein, Beat, Painting a Pond, Oct., p. 19 Onobrakpeya, Bruce, Fulani Milk Woman, Nov., p. 19 Unknown, Quilt Top, Crazy Pattern, Dec, p. 19 A&A STUDY PRINTS Lister, Adam, The Starry Night (After van Gogh), Jan., p. 37 Montgomery, Monty, Geo #66, Sept., p. 37 Scotin, Gérard Jean Baptiste, Adam Naming the Animals, Nov., p. 37 Stahl, Emma Civey, Woman‘s Rights Quilt, Dec., p. 37 Thomas, Alma, The Eclipse, Oct., p. 37 ADVICE FOR ART TEACHERS Art is at the Core: Antonio Ligabue, “Self- Portrait with Dog,” Oct., p. 10 Art is at the Core: Eileen Agar, “Lewis Carroll with Alice,” Dec., p. 11 Choice-Based Art: FAQ for TAB, Jan., p. 7 Choice-Based Art: How I Found TAB, Nov., p. 10 Choice-Based Art: What About Demos?, Sept., p. 12 Stepping Stones: Developing Your Classroom Management Strategies, Sept., p. 8 Stepping Stones: Introducing New Fiber-Arts Projects, Dec., p. 8 Stepping Stones: Printmaking Techniques, Nov., p. 8 Stepping Stones: Working with Paper-Made Projects, Oct., p. 8 Stepping Stones: Bringing the Museum to the Art Room, Jan., p. 6 Tried & True Tips for Art Teachers: Creative Curiosity, Oct., p. 38 Tried & True Tips for Art Teachers: The Dialogue of Art, Jan., p. 38 Tried & True Tips for Art Teachers: Eye Traffic, Nov., p. 38 Tried & True Tips for Art Teachers: Happy, Healthy and Creative, Dec., p. 38 Tried & True Tips for Art Teachers: Organized Chaos, Sept., p. 38 ALIVE AND KICKING Collaging Compositions, Oct, p. 14 Multiple Lines and Making Murals, Sept., p. 16 Our Block Party, Dec., p. 23 Southern California in Relief, Nov., p. 16 ART APPRECIATION/ART HISTORY Art Print: Church, Frederic Edwin, The Parthenon, Sept., p. 19 Art Print: Kühne, Hendrikje and Klein, Beat, Painting a Pond, Oct., p. 19 28

Art Print: Arreguín, Alfredo, Heritage/Herencia, Jan., p. 19 Art Print: Onobrakpeya, Bruce, Fulani Milk Woman, Nov., p. 19 Art Print: Unknown, Quilt Top, Crazy Pattern, Dec, p. 19 Contemporizing Famous Masterpieces, Jan., p. 10 Study Print: Montgomery, Monty, Geo #66, Sept., p. 37 Study Print: Scotin, Gérard Jean Baptiste, Adam Naming the Animals, Nov., p. 37 Study Print: Stahl, Emma Civey, Woman‘s Rights Quilt, Dec., p. 37 Study Print: Thomas, Alma, The Eclipse, Oct., p. 37 Study Print: Lister, Adam, The Starry Night (After van Gogh), Jan., p. 37 ART ACROSS THE CURRICULUM We Are Wyoming: An Arts Integrated Unit, Sept., p. 28 ART IS AT THE CORE Antonio Ligabue, “Self-Portrait with Dog,” Oct., p. 10 Eileen Agar, “Lewis Carroll with Alice,” Dec., p. 11 CHOICE-BASED ART FAQ for TAB, Jan., p. 7 How I Found TAB, Nov., p. 10 What About Demos?, Sept., p. 12 COLLABORATIVE PROJECTS Alive and Kicking: Our Block Party, Dec., p. 23 Alive and Kicking: Multiple Lines and Making Murals, Sept., p. 16 Career Education Via Video Conference, Sept., p. 30 Creative Collaboration: Celebrating Poetry and Eric Carle, Oct., p. 16 On the Art Career Track: TV Times, Nov., p. 23 COMMUNITY CONNECTIONS Alive and Kicking: Multiple Lines and Making Murals, Sept., p. 16 Help Endangered Species with Art, Jan., p. 23 Hold an Art Signing, Jan., p. 18 Textural Portraits, Dec., p. 26 Try a Little Kindness, Jan., p. 23 CREATIVE COLLABORATION Career Education Via Video Conference, Sept., p. 30 Celebrating Poetry and Eric Carle, Oct., p. 16 DRAWING AND PAINTING Alive and Kicking: Multiple Lines and Making Murals, Sept., p. 16

Alive and Kicking: Southern California in Relief, Nov., p. 16 Art Across the Curriculum: We Are Wyoming: An Arts Integrated Unit, Sept., p. 28 Community Connections: Try a Little Kindness, Jan., p. 23 Community Connections: Help Endangered Species with Art, Jan., p. 23 Contemporizing Famous Masterpieces, Jan., p. 10 Creative Collaboration: Celebrating Poetry and Eric Carle, Oct., p. 16 Gyotaku Fish Prints with First Grade, Nov., p. 14 Illustrating Social Media, Sept., p. 23 Izzy Wheels: Connecting On an Emotional Level, Jan., p. 14 Jim Dine–Inspired Tool Drawings, Sept., p. 26 Matisse Fishbowls, Dec., p. 14 Nichos: The Art of Remembering, Oct., p. 28 A Screaming Start for Art, Sept., p. 24 Sgraffito Masks, Jan., p. 12 Weaving Abstract Art into your Curriculum, Dec., p. 18 Welcome Winter with Snow People at Night, Dec., p. 16 ELEMENTARY (grades K–5) Alive and Kicking: Collaging Compositions, Oct, p. 14 Alive and Kicking: Multiple Lines and Making Murals, Sept., p. 16 Alive and Kicking: Our Block Party, Dec., p. 23 Alive and Kicking: Southern California in Relief, Nov., p. 16 Art Across the Curriculum: We Are Wyoming: An Arts Integrated Unit, Sept., p. 28 Contemporizing Famous Masterpieces, Jan., p. 10 Gyotaku Fish Prints with First Grade, Nov., p. 14 Matisse Fishbowls, Dec., p. 14 Nichos: The Art of Remembering, Oct., p. 28 Not Just Pieces of Wood, Nov., p. 26 Powered by STEAM: Make a Robot and Learn About Math, Oct., p. 23 Recycling Renaissance: Sailboat Collages, Oct., p. 26 Welcome Winter with Snow People at Night, Dec., p. 16 FABRIC/FIBER/TEXTURE Community Connections: Textural Portraits, Dec., p. 26 Nichos: The Art of Remembering, Oct., p. 28 Resist Fabric Dyeing Inspired by “Black Panther,” Dec, p. 28 Weaving Abstract Art into your Curriculum, Dec., p. 18 INTEGRATING THE CURRICULUM We Are Wyoming: An Arts Integrated Unit, Sept., p. 28

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

MIDDLE AND SECONDARY (grades 6-12) A Screaming Start for Art, Sept., p. 24 Career Education Via Video Conference, Sept., p. 30 Community Connections: Textural Portraits, Dec., p. 26 Creative Collaboration: Celebrating Poetry and Eric Carle, Oct., p. 16 Illustrating Social Media, Sept., p. 23 Jim Dine–Inspired Tool Drawings, Sept., p. 26 Nichos: The Art of Remembering, Oct., p. 28 On the Art Career Track: TV Times, Nov., p. 23 Powered by STEAM: Handheld Holograms, Nov., p. 30 Print Party Palooza!, Nov., p. 28 Resist Fabric Dyeing Inspired by “Black Panther,” Dec, p. 28 Sgraffito Masks, Jan., p. 12 Weaving Abstract Art into your Curriculum, Dec., p. 18

Print Party Palooza!, Nov., p. 28 Recycling Renaissance: Sailboat Collages, Oct., p. 26 A Screaming Start for Art, Sept., p. 24 POWERED BY STEAM Handheld Holograms, Nov., p. 30 Make a Robot and Learn About Math, Oct., p. 23 PRINTMAKING/IMAGE TRANSFER Alive and Kicking: Southern California in Relief, Nov., p. 16 Gyotaku Fish Prints with First Grade, Nov., p. 14 Not Just Pieces of Wood, Nov., p. 26 On the Art Career Track: TV Times, Nov., p. 23 Powered by STEAM: Handheld Holograms, Nov., p. 30 Print Party Palooza!, Nov., p. 28

MIXED MEDIA Community Connections: Textural Portraits, Dec., p. 26 Creative Collaboration: Celebrating Poetry and Eric Carle, Oct., p. 16 Gyotaku Fish Prints with First Grade, Nov., p. 14 Jim Dine–Inspired Tool Drawings, Sept., p. 26 Matisse Fishbowls, Dec., p. 14 Nichos: The Art of Remembering, Oct., p. 28 On the Art Career Track: TV Times, Nov., p. 23 Powered by STEAM: Make A Robot and Learn About Math, Oct., p. 23 Print Party Palooza!, Nov., p. 28 Recycling Renaissance: Sailboat Collages, Oct., p. 26 Resist Fabric Dyeing Inspired by “Black Panther,” Dec, p. 28 Welcome Winter with Snow People at Night, Dec., p. 16 MULTICULTURAL Gyotaku Fish Prints with First Grade, Nov., p. 14 Nichos: The Art of Remembering, Oct., p. 28 Resist Fabric Dyeing Inspired by “Black Panther,” Dec, p. 28 Sgraffito Masks, Jan., p. 12

Graphic Display Systems American made and proudly serving artists, craftspeople, and schools for 40 years!

READY-TO-USE RESOURCES Art Print: Arreguín, Alfredo, Heritage/Herencia, Jan., p. 19 Art Print: Church, Frederic Edwin, The Parthenon, Sept., p. 19 Art Print: Kühne, Hendrikje and Klein, Beat, Painting a Pond, Oct., p. 19 Art Print: Onobrakpeya, Bruce, Fulani Milk Woman, Nov., p. 19 Art Print: Unknown, Quilt Top, Crazy Pattern, Dec, p. 19 Study Print: Lister, Adam, The Starry Night (After van Gogh), Jan., p. 37 Study Print: Montgomery, Monty, Geo #66, Sept., p. 37 Study Print: Scotin, Gérard Jean Baptiste, Adam Naming the Animals, Nov., p. 37 Study Print: Stahl, Emma Civey, Woman‘s Rights Quilt, Dec., p. 37 Study Print: Thomas, Alma, The Eclipse, Oct., p. 37 continued on next page

Save Money Save Time Save your Brushes!

ON THE ART CAREER TRACK TV Times, Nov., p. 23 PAPER/PAPIER-MACHE/COLLAGE Alive and Kicking: Collaging Compositions, Oct, p. 14 Alive and Kicking: Our Block Party, Dec., p. 23 Creative Collaboration: Celebrating Poetry and Eric Carle, Oct., p. 16 Gyotaku Fish Prints with First Grade, Nov., p. 14 Matisse Fishbowls, Dec., p. 14 Powered by STEAM: Make a Robot and Learn About Math, Oct., p. 23 www.ar tsandactivities.com

308 South 1st Street, Lebanon, PA 17042 1-800-848-3020 or (717) 274-3954 www.graphicdisplaysystems.com

86 Y E A R S •

januar y 2019

MADE IN THE USA

GeneralPencil.com 29

RECYCLING RENAISSANCE Sailboat Collages, Oct., p. 26 RECYCLING/USING FOUND OBJECTS Community Connections: Textural Portraits, Dec., p. 26 Nichos: The Art of Remembering, Oct., p. 28 Print Party Palooza!, Nov., p. 28 Recycling Renaissance: Sailboat Collages, Oct., p. 26 Weaving Abstract Art into your Curriculum, Dec., p. 18 Welcome Winter with Snow People at Night, Dec., p. 16 S.T.E.A.M. Make a Robot and Learn About Math, Oct., p. 23 Handheld Holograms, Nov., p. 30 STEPPING STONES Bringing the Museum to the Art Room, Jan., p. 6 Developing Your Classroom Management Strategies, Sept., p. 8 Working with Paper-Made Projects, Oct., p. 8 Printmaking Techniques, Nov., p. 8 Introducing New Fiber-Arts Projects, Dec., p. 8 THREE-DIMENSIONAL DESIGN Nichos: The Art of Remembering, Oct., p. 28 Powered by STEAM: Make a Robot and Learn About Math, Oct., p. 23

Weaving Abstract Art into your Curriculum, Dec., p. 18 Welcome Winter with Snow People at Night, Dec., p. 16 TRIED & TRUE TIPS FOR ART TEACHERS Creative Curiosity, Oct., p. 38 The Dialogue of Art, Jan., p. 38 Eye Traffic, Nov., p. 38 Happy, Healthy and Creative, Dec., p. 38 Organized Chaos, Sept., p. 38 YEARLONG SECONDARY ADVANCED ART SERIES 3D Intro Art, Article 1: Kicking Off the Series, Sept., p. 14 3D Intro Art, Article 2: Cardboard Relief Sculptures, Oct., p. 12 3D Intro Art, Article 3: Who Am I? Relief Sculptures, Nov., p. 12 3D Intro Art, Article 4: Wonderful Weavings, Dec., p. 12 3D Intro Art, Article 5: Pop-Up Art History, Jan., p. 8 AUTHORS Douglas, Katherine, Sept., p. 12 Esrum, Eva K., Sept., p. 30 Fergus, Jenna, Jan., p. 18 Guigley, Pannay, Dec., p. 28 Gaub, Cynthia, Nov., p. 10

Hathaway, Nan E., Jan., p. 7 Healy, Julia, Oct., p. 23 Hoffman, Anne M., Jan., p. 14 Knappenberger, Jenny, Jan., p. 10 Kohl, Gary, Sept, p. 24 Koonlaba, Amanda, Oct., p. 10; Dec., p. 11; Lappe, Jeremie, Oct., p. 28 Leishear, Chrissy, Oct., p. 26; Dec., p. 14 Lubiner, Glenda, Sept., p. 38; Oct., p. 38; Nov., p. 28; Nov, p. 38; Dec, p. 38; Jan., p. 38 Masse, Don, Sept., p. 16; Oct., p. 14; Nov., p. 16; Dec., p. 23 Moran, Peter, Sept., p. 28 Mazur, Matt, Jan., p. 12 McGovern, Cynthia, Nov., p. 26; Dec., p. 16 O’Hanley, Heidi, Sept., p. 8; Oct., p. 8; Nov., p. 8; Nov., p. 14; Dec., p. 8; Jan., p. 6 Osterer, Irv, Sept., p. 23; Nov., p. 23; Jan., p. 23 Petka, Kathleen, Sept., p. 26; Oct., p. 16 Sartorius, Tara Cady, Sept., p. 19; Oct., p. 19; Nov., p. 19; Dec., p. 19; Jan., p. 19 Trent, Allen, Sept., p. 28 Tarman, Rebecca, Dec., p. 18 Woodman, Tony, Dec., p. 26 Waller, Kerri, Nov., p. 30 West, Debi, Sept., p. 14; Oct., p. 12; Nov., p. 12; Dec., p. 12; Jan., p. 8 n

Download Back Issues of A&A Magazine for only $3

ORDER ONLINE TODAY!

AVAILABLE AT:

artsandactivities.com 30

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

Buyer’s Guide 2019 This directory of sources of art and craft supplies and equipment, schools, publications and services ... a ready reference for teachers, administrators and purchasing agents.Be sure to say you found them in Arts & Activities magazine!

A Aardvark Clay & Supplies 714-541-4157 www.aardvarkclay.com CE SP Academy of Art University 800-544-2787 www.academyart.edu SH ACMI www.acmiart.org SH Activa Products, Inc. 877-970-0832 www.activaproducts.com CE HC SH SP AMACO/Brent 800-374-1600 www.amaco.com BR CE CT FN HC SA SH SP American Ceramic Supply Co. 866-535-2651 www.americanceramics.com AB AD BR CE CT HC JM PT RS SA SG SH SP

Ampersand Art Supply 800-822-1939 www.ampersandart.com CE DG FI FN HC JM LO PH PR SG SH SP

BigCeramicStore.com 888-513-5303 www.bigceramicstore.com AB BR CE HC JM PR RS SP

Clay Times 800-356-2529 www.claytimes.com PB

Armada Art, Inc. 800-435-0601 www.armadaart.com BR CT HC

Bisque Imports 888-568-5991 www.bisqueimports.com CE SH SP

ColArt Americas, Inc. 800-445-4278 www.colart.com AD BR CA CY DG EP HC PC PS PT

Armory Art Center 561-832-1776 www.armoryart.org CE DG JM SP

Blick Art Materials 800-447-8192 www.dickblick.com AB AD AV BR CA CE CO CT CY DE DG DR DS DY EP FD FI FN FR GR HC JM LO LT PC PH PR PS PT RS SA SG SP

Columbus College of Art & Design www.ccad.edu SH

Arnold Grummer’s Paper Making 800-453-1485 www.arnoldgrummer.com HC RS Arrowmont Sch. of Arts/Crafts 865-436-5860 www.arrowmont.org SH Art Boards 800-546-7985 www.art-boards.com EP FN PR Art Image Publications 800-361-2598 www.artimagepublications.com PB

AMEP-Crystal Productions 800-289-9299 www.amep.com AV DE PB

Artisan 800-331-6375 www.artisan-santafe.com BR EP FN FR HC PC PS PT SH

American Ed. Products LLC 800-289-9299 www.amep.com BR CE CY DE DG DR EP PC PR PT

The Art of Education www.theartofed.com SH

CODES AB Airbrush AD Adhesives/Fixatives AV Audio Visual/DVDs/Videos BR Brushes CA Calligraphy CE Ceramics CO Computers/Software CT Cutting Instruments CY Crayons DE Display/Exhibit Fixtures DG Drawing DR Drafting DS Dispensers/Containers DY Dye/Batik EP Easels/Palettes FD Fundraising FI Fabrics/Fibers FN Furniture/Equipment FR Frames/Mats GR Graphic HC Hobby/Craft JM Jewelry/Metal LO Looms/Weaving LT Leathercraft PB Publishers/Art Reproductions PC Paper/Canvas PH Photography PR Printmaking PS Pastels PT Paints/Pigments RS Rubber Stamps SA Safety Equipment SG Stained Glass SH Schools/Workshops SP Sculpture

www.ar tsandactivities.com

Artograph, Inc. 888-975-9555 www.artograph.com AV DG DR FN HC JM PH Art Supplies Wholesale 800-462-2420 www.allartsupplies.com BR CY DG EP FR PC PR PS PT Art Trek 415-868-9558 www.arttreks.com SH

A.W.T. World Trade, Inc. 773-777-7100 www.awt-gpi.com FN

Badge-A-Minit Ltd. 800-223-4103 www.badgeaminit.com HC Bailey Ceramic Supply 800-431-6067 www.baileypottery.com AB AV BR CE FN HC SA SP Bamboo Tools 604-723-2900 www.bambootools.com BR CE CT 86 Y E A R S •

Bracker’s Good Earth Clays, Inc. 888-822-1982 www.brackers.com CE DS HC Brent Pottery Equipment 800-374-1600 www.brentwheels.com CE FN Bright Ring Publishing Inc. 800-480-4278 www.brightring.com PB

Canson Inc. 800-628-9283 www.canson.com PC Carolina Clay Connection 704-376-7221 www.carolinaclay.com CE HC SH Ceramic Supply Chicago 847-425-1900 www.ceramicsupplychicago.com BR CE Chavant, Inc. 732-751-0003 www.chavant.com SP

Aves Studio 800-261-AVES www.avesstudio.com CE HC SP

Boston Univ. School of Visual Arts 866-347-6876 www.bu.edu/cfa/visual-arts/ SH

januar y 2019

Chesapeake Ceramics LLC 800-962-9655 www.ceramicschoolsupply.com CE Chroma Inc. 800-257-8278 www.chromaonline.com PT Clay Mat 559-360-9770 www.claymat.com CE Clay Planet 800-443-CLAY www.clay-planet.com CE FN PT SP Clay Stamps from Socwell LLC 608-295-1415 www.4clay.com CE JM RS

Concordia Univ. 888-628-9472 www.cuw.edu SH Conrad Machine Co. 231-893-7455 www.conradmachine.com FN GR PR Continental Clay Co. 800-432-CLAY www.continentalclay.com AB AD BR CE DS FN HC JM PC PT RS SA SH SP Copic Markers www.copicmarker.com AB DG DR Cornell Studio 937-454-0357 www.cornellstudiosupply.com CE Coyote Creek Productions 760-731-3184 www.coycreek.com AV Crayola 800-272-9652 www.crayola.com CY DG HC PT SP Cress Mfg. Co. 800-423-4584 www.cressmfg.com CE SP Crizmac Art & Cultural Ed. Matls. 520-323-8555 www.crizmac.com FI PB SH

D Daler-Rowney, USA 609-655-5252 www.daler-rowney.com BR DG EP FN GR HC PC PR PS PT SH Debcor, Inc. 708-333-2191 CE FN Delphi 888-281-5780 www.delphiglass.com/teach AD HC JM SG SH Diversified Woodcrafts 877-348-9663 www.diversifiedwoodcrafts.com FN Dixon Ticonderoga Co./Prang www.prang.com CY DG PS PT

E-F

Earth Guild 800-327-8448 www.earthguild.com AD BR CA CT DY FI HC LO LT PT SA SP Elmer’s Products, Inc. 888-435-6377 www.elmers.com AD HC Euclid’s Elements 800-296-5456 www.euclids.com CE FN Faber-Castell USA 800-642-2288 www.faber-castellusa.com CY DG HC PS

Graphic Display Systems 800-848-3020 www.graphicdisplaysystems.com DE

Liqui-Mark Corp. 800-486-9005 www.liquimark.com DG HC

Graphic Products Corp. 847-836-9600 www.gpcpapers.com PC

Liquitex Artist Materials 888-422-7954 www.liquitex.com AB AD GR HC PT SP

Graphik Dimensions Ltd. 800-221-0262 www.pictureframes.com FR

L & L Kiln Mfg., Inc. 800-750-8350 www.hotkilns.com CE HC JM SG

Great Lakes Clay 800-258-8796 www.greatclay.com AB AD AV BR CE FN HC SA SH SP

Loew-Cornell, Inc. 201-836-7070 www.loew-cornell.com BR CE PT

H-K Handy Art 800-236-6873 www.handyart.com AD BR DS PR PT

Marywood University 570-348-6207 www.marywood.edu SH

Fiskars 866-348-5661 www.fiskars.com CT HC

Harrisville Designs/Friendly Loom 800-338-9415 www.harrisville.com FI HC LO

Mayco Colors 614-876-1171 www.maycocolors.com BR CE HC PT SH

FM Brush Co. 718-821-5939 www.fmbrush.com BR

iLoveToCreate, Duncan Ent. Co. 800-438-6226 www.ilovetocreate.com AD BR CE DY HC JM PC PT SH

Midlantic Clay 856-933-0022 creativehobbies.com CE

The Folding Art Horse 909-596-2180 www.thefoldingarthorse.com FN

Imagination Int’l Inc. www.iii.global/iii-academy SH

Midwest Products 800-348-3497 www.midwestproducts.com AD CT HC SH

Geil Kilns 714-847-6135 www.kilns.com CE SH Gelli Arts 800-580-4198 www.gelliarts.com HC PR General Pencil Co. 800-537-0734 www.generalpencil.com CY DG DR HC PS Getting To Know, Inc. 312-642-5526 www.gettingtoknow.com AV PB Giffin Tec Inc. 800-445-2997 www.giffingrip.com CE Glue Dots Int’l.(GDI) 888-688-7131 www.gluedots.com AD HC Gold’s Artworks 800-356-2306 www.goldsartworks.20m.com PC Golden Artist Colors 800-959-6543 www.goldenpaints.com CY PT Graphic Chemical & Ink 800-465-7382 www.graphicchemical.com PR 32

Inovart Inc. 800-292-7622 www.inovart.net CA CT DG EP FR HC LO PR RS Jack Richeson & Co, Inc. 800-233-2404 www.richesonart.com AV BR DG DS EP FN HC PC PR PS PT SH SP Jacquard Products 800-442-0455 www.jacquardproducts.com AB AD BR DG DS DY FI HC JM LT PH PR PT RS SG SH SP Jiffy Mixer 800-560-2903 jiffymixer.com CE PT Kids Can Press 800-265-0885 www.kidscanpress.com DG PB PR PT SP KopyKake Ent. 800-999-5253 www.kopykake.com AB GR Krueger Pottery, Inc. 800-358-0180 www.kruegerpottery.com AD BR CE FN SH Krylon Products Group 216-515-7693 www.krylon.com HC PT

Laguna Clay Co. 800-452-4862 www.lagunaclay.com AB AD AV BR CE FN HC PT SA SP Lightfoot Ltd, Inc 951-693-5165 www.lightfootltd.com AV CO DG EP FN PC SA SH

Olympic Kilns 800-241-4400 www.greatkilns.com CE HC JM SP

Oregon College of Art & Craft 503-297-5544 www.ocac.edu PR SH The Original Hi Roller 828-308-2585 www.originalhiroller.com CE Orton Ceramic Foundation 614-895-2663 www.ortonceramic.com CE FN PB SA SH

M-N

Fasteners4schools.com 800-876-9922 www.fasteners4schools.com AD CT HC

F & W North Light Book Club 800-448-0915 www.fwmedia.com PB

Pacon Corporation 800-333-2545 www.pacon.com DG FR PC Paragon Industries, L.P. 972-288-7557 www.paragonweb.com CE SG PCF Studios, Inc. 585-229-2976 www.pcfstudios.com AV CE SH SP Pentel of America 800-262-1127 www.pentel.com DG DR

Minnesota Clay USA 952-884-9101 www.mnclay.com AB BR CE SA SP

Perfectone Mold Co. 800-828-2634 www.perfectonemolds.com HC SP

MKM Pottery Tools 920-830-6860 www.mkmpotterytools.com CY FN HC SP

Peter Pugger Mfg. 707-463-1333 www.peterpugger.com CE FN

Molly Hawkins’ House www.mollyhawkins.com AD BR CA CT CY DG DR DS EP GR HC JM PC PR PS PT SP

Phelps Publishing 216-752-4938 www.phelpspublishing.com DG HC PB

Nasco Arts & Crafts 800-558-9595 www.enasco.com AB AD CE DE DG DS EP FN PC PH PR PT SA SP

Picasso People 716-684-0244 www.picassopeople.com SH

National Artcraft Co. 888-937-2723 www.nationalartcraft.com AB AD BR CE DE DG DS EP HC PC PS PT

Polyform Products 847-427-0020 www.sculpey.com CE HC SP

National Art Education Assoc. 703-860-8000 www.arteducators.org PB

Q-R

New Century Arts 206-284-7805 www.paperclayart.com CE SP

Quarry Books www.quarrybooks.com PB

Quarto Publishing www.quartoknows.com PB

New Mexico Clay 800-781-2529 www.nmclay.com BR CE JM SP

Renaissance Graphic Arts, Inc. 888-833-3398 www.printmaking-materials.com PC PR PT

New York University 800-771-4698 www.nyu.edu SH

Ringling College/Art & Design 941-955-8866 www.ringling.edu SH

North Star Equipment 800-231-7896 www.northstarequipment.com CE FN

j a n u a r y 2 0 1 9 • 86 Y E A R S

Royal & Langnickel Brush Mfg. 219-660-4170 www.royalbrush.com BR CE EP HC PS PT

www.ar tsandactivities.com

Royalwood Ltd. 800-526-1630 www.royalwoodltd.com FI HC LO

Standard Ceramic Supply 412-276-6333 www.standardceramic.com CE

Wikkistix 800-869-4554 www.wikkistix.com HC SP

Runyan Pottery Supply, Inc. 810-687-4500 www.runyanpotterysupply.com AB AD BR CE CT DS FN HC RS SA SH SP

Strathmore Artist Papers 800-353-0375 www.strathmoreartist.com PC

Winsor & Newton 800-445-4278 www.winsornewton.com BR CA CY EP HC PC PS PT

SUNY New Paltz www.newpaltz.edu SH

Witzend Workshop, LLC 203-393-2397 www.twisteezwire.com CY DY FI HC JM SP

S Sakura of America 800-776-6257 www.sakuraofamerica.com DG DR GR PS SH Sargent Art Inc. 800-424-3596 www.sargentart.com AB AD BR CE CY DG DS DY EP HC JM PC PS PT SG SP Savannah Coll. of Art & Design 912-525-5000 www.scad.edu SH School of the Art Inst. of Chicago 312-899-5100 www.artic.edu SH Sax/School Specialty 888-388-3224 www.saxarts.com AB AD AV BR CA CE CT CY DE DG DR DS DY EP FD FI FN FR HC JM LO LT PC PH PR PS PT RS SG SH SP Segmation 858-206-3289 www.segmation.com DG HC SH Sheffield Pottery 888-774-2529 www.sheffield-pottery.com BR CE SA Shimpo Ceramics 800-237-7079 www.shimpoceramics.com CE HC SH Silver Brush, Ltd 609-443-4900 www.silverbrush.com BR Skidmore College Summer 6 518-580-5052 www.skidmore.edu SH Skutt Ceramic Products 503-774-6000 www.skutt.com CE FN JM SA SG SP Smith-Sharpe Fire Brick Supply 612-331-1345 www.kilnshelf.com CE Socwell LLC www.4clay.com CE Spectrum Glazes, Inc. 800-970-1970 www.spectrumglazes.com CE PT Speedball Art Products 800-898-7224 www.speedballart.com CA DG PC PR PT RS Square 1 Art 888-332-3294 www.square1art.com FD Staedtler-Mars, Limited 800-776-5544 www.staedtler.ca DG DR GR HC PS ww ww w .. a a rr tt s sa an nd da a cc tt ii v v ii tt ii e es s .. cc o om m w

T Tandy Leather Factory 817-872-3200 www.tandyleatherfactory.com HC LT Teachers College Columbia Univ. 212-278-3270 www.tc.columbia.edu SH Testors Corp. www.testors.com AB BR PT Traveling Exhibits 248-340-7210 www.teachersdiscovery.com DE Triarco Arts & Crafts, Inc. 800-328-3360 www.etriarco.com AB AD AV BR CA CE CT CY DE DG DS DY EP FN FR GR HC JM LO LT PC PH PR PS PT SG SP Trinity Ceramic Supply 214-631-0540 www.trinityceramic.com CE Truro Center for the Arts 508-349-7511 www.castlehill.org SH Tucker’s Pottery Supplies 800-304-6185 www.tuckerspottery.com BR CE CT FN SP

U-Z

United Art and Education 800-322-3247 www.unitednow.com AB AD BR CA CE CT CY DG DR DS EP FI FN HC JM LO PC PR PS PT SG SP University of the Arts 215-717-6000 www.uarts.edu SH Utrecht Mfg. Corp. 800-223-9132 www.utrecht.com AD BR CT DG DR DY EP FN FR GR PC PR PS PT SP Vent-A-Kiln Corp. 716-876-2023 www.ventakiln.com CE SA Wacom Technology Corp. 360-896-9833 www.wacom.com CO DG HC PH PT The Wallace Foundation www.wallacefoundation.org SH Western Michigan University 269-387-2436 www.wmich.edu/art SH

86 Y E A R S • 86 Y E A R S •

an nu ua a rr yy 2 2019 jj a 019

Wyland Foundation www.wylandfoundation.org DE Zebra Pen 800-247-7170 www.zebrapen.com DG

Product Categories (AB) AIRBRUSH American Ceramic Supply Co. Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Continental Clay Co. Copic Markers Great Lakes Clay Jacquard Products KopyKake Ent. Laguna Clay Co. Liquitex Artist Materials Minnesota Clay USA Nasco Arts & Crafts National Artcraft Co. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education (AD) ADHESIVES/FIXATIVES American Ceramic Supply Co. Blick Art Materials ColArt Americas, Inc. Continental Clay Co. Delphi Earth Guild Elmer’s Products, Inc. Fasteners4schools.com Glue Dots Int’l.(GDI) Great Lakes Clay Handy Art iLoveToCreate, Duncan Ent. Co. Jacquard Products Krueger Pottery, Inc. Laguna Clay Co. Liquitex Artist Materials Midwest Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. (AV) AUDIO/VISUAL AMEP-Crystal Productions Artograph, Inc. Bailey Ceramic Supply Blick Art Materials Coyote Creek Productions Getting To Know, Inc. Great Lakes Clay Jack Richeson & Co, Inc. Laguna Clay Co.

Lightfoot Ltd, Inc PCF Studios, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. (BR) BRUSHES AMACO/Brent American Ceramic Supply Co. American Educational Products LLC Armada Art, Inc. Artisan Art Supplies Wholesale Bailey Ceramic Supply Bamboo Tools BigCeramicStore.com Blick Art Materials Ceramic Supply Chicago ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Earth Guild FM Brush Co. Great Lakes Clay Handy Art iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Krueger Pottery, Inc. Laguna Clay Co. Loew-Cornell, Inc. Mayco Colors Minnesota Clay USA Molly Hawkins’ House National Artcraft Co. New Mexico Clay Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Silver Brush, Ltd Testors Corp. Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. Winsor & Newton (CA) CALLIGRAPHY Blick Art Materials ColArt Americas, Inc. Earth Guild Inovart Inc. Molly Hawkins’ House Sax/School Specialty Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton (CE) CERAMICS Aardvark Clay & Supplies Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. American Educational Products LLC Ampersand Art Supply Armory Art Center Aves Studio Bailey Ceramic Supply Bamboo Tools BigCeramicStore.com Bisque Imports Blick Art Materials Bracker’s Good Earth Clays, Inc. Brent Pottery Equipment Carolina Clay Connection Ceramic Supply Chicago Chesapeake Ceramics LLC Clay Mat Clay Planet Clay Stamps from Socwell LLC Continental Clay Co. Cornell Studio Cress Mfg. Co. Debcor, Inc. Euclid’s Elements Geil Kilns 33 33

Giffin Tec Inc. Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Jiffy Mixer Krueger Pottery, Inc. Laguna Clay Co. L & L Kiln Mfg., Inc. Loew-Cornell, Inc. Mayco Colors Midlantic Clay Minnesota Clay USA Nasco Arts & Crafts National Artcraft Co. New Century Arts New Mexico Clay North Star Equipment Olympic Kilns The Original Hi Roller Orton Ceramic Foundation Paragon Industries, L.P. PCF Studios, Inc. Peter Pugger Mfg. Polyform Products Royal & Langnickel Brush Mfg. Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Sheffield Pottery Shimpo Ceramics Skutt Ceramic Products Smith-Sharpe Fire Brick Supply Socwell LLC Spectrum Glazes, Inc. Standard Ceramic Supply Triarco Arts & Crafts, Inc. Trinity Ceramic Supply Tucker’s Pottery Supplies United Art and Education Vent-A-Kiln Corp. (CO) COMPUTERS Blick Art Materials Lightfoot Ltd, Inc Wacom Technology Corp. (CT) CUTTING INSTRUMENTS AMACO/Brent American Ceramic Supply Co. Armada Art, Inc. Bamboo Tools Blick Art Materials Earth Guild Fasteners4schools.com Fiskars Inovart Inc. Midwest Products Molly Hawkins’ House Runyan Pottery Supply, Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (CY) CRAYONS American Educational Products LLC Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Crayola Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Golden Artist Colors MKM Pottery Tools Molly Hawkins’ House Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education Winsor & Newton Witzend Workshop, LLC (DE) DISPLAYS AMEP-Crystal Productions American Educational Products LLC Blick Art Materials 34

Graphic Display Systems Nasco Arts & Crafts National Artcraft Co. Sax/School Specialty Traveling Exhibits Triarco Arts & Crafts, Inc. Wyland Foundation (DG) DRAWING American Educational Products LLC Ampersand Art Supply Armory Art Center Artograph, Inc. Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Copic Markers Crayola Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Lightfoot Ltd, Inc Liqui-Mark Corp. Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Pentel of America Phelps Publishing Sakura of America Sargent Art Inc. Sax/School Specialty Segmation Speedball Art Products Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Wacom Technology Corp. Zebra Pen (DR) DRAFTING American Educational Products LLC Artograph, Inc. Blick Art Materials Copic Markers General Pencil Co. Molly Hawkins’ House Pentel of America Sakura of America Sax/School Specialty Staedtler-Mars, Limited United Art and Education Utrecht Mfg. Corp. (DS) DISPENSERS/CONTAINERS Blick Art Materials Bracker’s Good Earth Clays, Inc. Continental Clay Co. Jack Richeson & Co, Inc. Jacquard Products Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Rock Paint Distr./Handy Art Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (DY) DYE/BATIKS Blick Art Materials Earth Guild iLoveToCreate, Duncan Ent. Co. Jacquard Products Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. Witzend Workshop, LLC

(EP) EASELS/PALETTES American Educational Products LLC Art Boards Artisan Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Inovart Inc. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Royal & Langnickel Brush Mfg. Sargent Art Inc. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton

Blick Art Materials Conrad Machine Co. Daler-Rowney, USA KopyKake Ent. Liquitex Artist Materials Molly Hawkins’ House Sakura of America Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp. (HC) HOBBY/CRAFT Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armada Art, Inc. Arnold Grummer’s Paper Making Artisan Artograph, Inc. Aves Studio Badge-A-Minit Ltd. Bailey Ceramic Supply BigCeramicStore.com Blick Art Materials Bracker’s Good Earth Clays, Inc. Carolina Clay Connection ColArt Americas, Inc. Continental Clay Co. Crayola Daler-Rowney, USA Delphi Earth Guild Elmer’s Products, Inc. Faber-Castell USA Fasteners4schools.com Fiskars Gelli Arts General Pencil Co. Glue Dots Int’l.(GDI) Great Lakes Clay Handy Art Harrisville Designs/Friendly Loom iLoveToCreate, Duncan Ent. Co. Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Krylon Products Group Laguna Clay Co. Liqui-Mark Corp. Liquitex Artist Materials L & L Kiln Mfg., Inc. Mayco Colors Midwest Products MKM Pottery Tools Molly Hawkins’ House National Artcraft Co. Olympic Kilns Perfectone Mold Co. Phelps Publishing Polyform Products Royal & Langnickel Brush Mfg. Royalwood Ltd. Roylco Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Segmation Shimpo Ceramics Staedtler-Mars, Limited Tandy Leather Factory Triarco Arts & Crafts, Inc. United Art and Education Wacom Technology Corp. Wikkistix Winsor & Newton Witzend Workshop, LLC

(FD) FUNDRAISING Blick Art Materials Sax/School Specialty Square 1 Art (FI) FABRIC/FIBERS Ampersand Art Supply Blick Art Materials Crizmac Art & Cultural Ed. Matls. Earth Guild Harrisville Designs/Friendly Loom Jacquard Products Royalwood Ltd. Sax/School Specialty United Art and Education Witzend Workshop, LLC (FN) FURNITURE/EQUIPMENT AMACO/Brent Ampersand Art Supply Art Boards Artisan Artograph, Inc. A.W.T. World Trade, Inc. Bailey Ceramic Supply Blick Art Materials Brent Pottery Equipment Clay Planet Conrad Machine Co. Continental Clay Co. Daler-Rowney, USA Debcor, Inc. Diversified Woodcrafts Euclid’s Elements The Folding Art Horse Great Lakes Clay Jack Richeson & Co, Inc. Krueger Pottery, Inc. Laguna Clay Co. Lightfoot Ltd, Inc MKM Pottery Tools Nasco Arts & Crafts North Star Equipment Orton Ceramic Foundation Peter Pugger Mfg. Runyan Pottery Supply, Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. (FR) FRAMES/MATS Artisan Art Supplies Wholesale Blick Art Materials Graphik Dimensions Ltd. Inovart Inc. Pacon Corporation Sax/School Specialty Triarco Arts & Crafts, Inc. Utrecht Mfg. Corp.

(JM) JEWELRY/METAL American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Artograph, Inc. BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co.

(GR) GRAPHIC A.W.T. World Trade, Inc. j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

Delphi iLoveToCreate, Duncan Ent. Co. Jacquard Products L & L Kiln Mfg., Inc. Molly Hawkins’ House New Mexico Clay Olympic Kilns Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education Witzend Workshop, LLC (LO) LOOMS/WEAVING Ampersand Art Supply Blick Art Materials Earth Guild Harrisville Designs/Friendly Loom Inovart Inc. Royalwood Ltd. Sax/School Specialty Triarco Arts & Crafts, Inc. United Art and Education (LT) LEATHERCRAFT Blick Art Materials Earth Guild Jacquard Products Sax/School Specialty Tandy Leather Factory Triarco Arts & Crafts, Inc. (PB) PUBLISHERS AMEP-Crystal Productions Art Image Publications Bright Ring Publishing Inc. Clay Times Crizmac Art & Cultural Ed. Matls. F & W North Light Book Club Getting To Know, Inc. Kids Can Press National Art Education Assoc. Orton Ceramic Foundation Phelps Publishing Quarry Books Quarto Publishing (PC) PAPER/CANVAS American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Canson Inc. ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Gold’s Artworks Graphic Products Corp. iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Sargent Art Inc. Sax/School Specialty Speedball Art Products Strathmore Artist Papers Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PC) PAPER/CANVAS American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Canson Inc. ColArt Americas, Inc. Continental Clay Co. Daler-Rowney, USA Gold’s Artworks Graphic Products Corp. www.ar tsandactivities.com

iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Lightfoot Ltd, Inc Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Pacon Corporation Renaissance Graphic Arts, Inc. Sargent Art Inc. Sax/School Specialty Speedball Art Products Strathmore Artist Papers Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PH) PHOTOGRAPHY Ampersand Art Supply Artograph, Inc. Blick Art Materials Jacquard Products Nasco Arts & Crafts Sax/School Specialty Triarco Arts & Crafts, Inc. Wacom Technology Corp. (PR) PRINTMAKING American Educational Products LLC Ampersand Art Supply Art Boards Art Supplies Wholesale A.W.T. World Trade, Inc. BigCeramicStore.com Blick Art Materials Conrad Machine Co. Daler-Rowney, USA Graphic Chemical & Ink Handy Art Inovart Inc. Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Molly Hawkins’ House Nasco Arts & Crafts Oregon College of Art & Craft Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Sax/School Specialty Speedball Art Products Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. (PS) PASTELS Artisan Art Supplies Wholesale Blick Art Materials ColArt Americas, Inc. Daler-Rowney, USA Dixon Ticonderoga Co./Prang Faber-Castell USA General Pencil Co. Jack Richeson & Co, Inc. Molly Hawkins’ House National Artcraft Co. Royal & Langnickel Brush Mfg. Sakura of America Sargent Art Inc. Sax/School Specialty Staedtler-Mars, Limited Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Winsor & Newton (PT) PAINTS/PIGMENTS American Ceramic Supply Co. American Educational Products LLC Artisan Art Supplies Wholesale Blick Art Materials Chroma Inc. Clay Planet ColArt Americas, Inc. Continental Clay Co. Crayola

86 Y E A R S •

januar y 2019

Daler-Rowney, USA Dixon Ticonderoga Co./Prang Earth Guild Golden Artist Colors Handy Art iLoveToCreate, Duncan Ent. Co. Jack Richeson & Co, Inc. Jacquard Products Jiffy Mixer Kids Can Press Krylon Products Group Laguna Clay Co. Liquitex Artist Materials Loew-Cornell, Inc. Mayco Colors Molly Hawkins’ House Nasco Arts & Crafts National Artcraft Co. Renaissance Graphic Arts, Inc. Rock Paint Distr./Handy Art Royal & Langnickel Brush Mfg. Sargent Art Inc. Sax/School Specialty Spectrum Glazes, Inc. Speedball Art Products Testors Corp. Triarco Arts & Crafts, Inc. United Art and Education Utrecht Mfg. Corp. Wacom Technology Corp. Winsor & Newton (RS) RUBBER STAMPS American Ceramic Supply Co. Arnold Grummer’s Paper Making BigCeramicStore.com Blick Art Materials Clay Stamps from Socwell LLC Continental Clay Co. Inovart Inc. Jacquard Products Runyan Pottery Supply, Inc. Sax/School Specialty Speedball Art Products (SA) SAFETY EQUIPMENT AMACO/Brent American Ceramic Supply Co. A.W.T. World Trade, Inc. Bailey Ceramic Supply Blick Art Materials Continental Clay Co. Earth Guild Great Lakes Clay Laguna Clay Co. Lightfoot Ltd, Inc Minnesota Clay USA Nasco Arts & Crafts Orton Ceramic Foundation Runyan Pottery Supply, Inc. Sheffield Pottery Skutt Ceramic Products Vent-A-Kiln Corp. (SG) STAINED GLASS American Ceramic Supply Co. Ampersand Art Supply Blick Art Materials Delphi Jacquard Products L & L Kiln Mfg., Inc. Paragon Industries, L.P. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. United Art and Education (SH) SCHOOL/WORKSHOPS Academy of Art University ACMI Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Arrowmont Sch. of Arts/Crafts Artisan The Art of Education

Art Trek Bisque Imports Boston Univ. School of Visual Arts Carolina Clay Connection Columbus College of Art & Design Concordia Univ. Continental Clay Co. Crizmac Art & Cultural Ed. Matls. Daler-Rowney, USA Delphi Geil Kilns Great Lakes Clay iLoveToCreate, Duncan Ent. Co. Imagination Int’l Inc. Jack Richeson & Co, Inc. Jacquard Products Krueger Pottery, Inc. Lightfoot Ltd, Inc Marywood University Mayco Colors Midwest Products New York University Oregon College of Art & Craft Orton Ceramic Foundation PCF Studios, Inc. Picasso People Ringling College/Art & Design Runyan Pottery Supply, Inc. Sakura of America Savannah College of Art & Design School of the Art Inst. of Chicago Sax/School Specialty Segmation Shimpo Ceramics Skidmore College Summer 6 SUNY New Paltz Teachers College Columbia Univ. Teachers, Art Center College Truro Center for the Arts University of the Arts The Wallace Foundation Western Michigan University (SP) SCULPTURE Aardvark Clay & Supplies Activa Products, Inc. AMACO/Brent American Ceramic Supply Co. Ampersand Art Supply Armory Art Center Aves Studio Bailey Ceramic Supply BigCeramicStore.com Bisque Imports Blick Art Materials Chavant, Inc. Clay Planet Continental Clay Co. Crayola Cress Mfg. Co. Earth Guild Great Lakes Clay Jack Richeson & Co, Inc. Jacquard Products Kids Can Press Laguna Clay Co. Liquitex Artist Materials Minnesota Clay USA MKM Pottery Tools Molly Hawkins’ House Nasco Arts & Crafts New Century Arts New Mexico Clay Olympic Kilns PCF Studios, Inc. Perfectone Mold Co. Polyform Products Runyan Pottery Supply, Inc. Sargent Art Inc. Sax/School Specialty Skutt Ceramic Products Triarco Arts & Crafts, Inc. Tucker’s Pottery Supplies United Art and Education Utrecht Mfg. Corp. Wikkistix Witzend Workshop, LLC 35

advertiser index ADVERTISERS Company Page Activa Products, Inc.

Arts & Activities

30, 36

Aves Studio LLC

Blick Art Materials

Cress Mfg. Co.

General Pencil Co.

Graphic Display Systems

Kansas State University

L & L Kiln Mfg., Inc.

Explore, Imagine, Create ... Art teachers from all over the country have assembled on the pages of Arts & Activities with a single purpose: To share with you their best classroom-tested, art-teaching experiences and creative ideas. Add Arts & Activities magazine to your classroom, library or media center today.

Lightfoot/Cartoon Supplies

National Art Education Assoc.

Royalwood Ltd.

Skutt Ceramic Products

The companies listed above show their support for art education by advertising in this magazine. Send a message of

appreciation ... tell them you found them in Arts & Activities .

MEDIA REVIEWS/SHOP TALK

Subscribe Online Now!

www.artsandactivities.com

Company Page Creativity Street

Lakeshore Learning Materials

Princeton Architectural Press

Sasquatch Books/Little Bigfoot

Teachers College Press

j a n u a r y 2 0 1 9 â&#x20AC;˘ 86 Y E A R S

www.ar tsandactivities.com

Instagram: @listergallery

View more of his art on

The Adam Lister Gallery.

2012. Image courtesy of

Night (After van Gogh),

b. 1978). The Starry

Adam Lister (American;

STUDY PRINT

“As an artist, I've always wanted to participate in the dialogue of art with other artists” — Jeff Koons

appy New Year! Now that we have gotten through the first part of the year and, if you’re like me, reviewed all the elements and principles of art, it’s time to get into some art history. I try to make art history a fun part of the class … I try not to be the “sage on the stage,” but have interactive lessons and lots of hands-on art activities to help the kids learn. The more they do, the more they remember. This month we will focus on art history, cultural art, and art appreciation.

tip #1

MASTER PLAN. Keeli Singer from Trojan Intermediate School in Potosi, Missouri, likes to hang masterworks throughout her building and have a photo scavenger hunt. For example, she asks her kids to “Find Grant Wood’s most famous piece and pose with a broom in the same fashion,” or “Point to the biggest star in van Gogh’s night sky classic.”

tip 2 #

FROM CAVEMEN TO ROBOTS. I like to

start teaching art history by showing students pictures of the cave paintings

Frida and her unibrow, Mona Lisa, and Klimt’s lady from The Kiss.

tip #3

WHAT IN THE WORLD IS GOING ON?

As an art teacher in an International Baccalaureate (IB) school, one thing I have been doing lately with my middle school students is to talk about the history, geography, language and culture of the country of the artist the students are learning about. It’s great to know the histor y of the artist, but what was happening in the world around them? Did it affect the work that they made? Where in the world did they live? I always point out the countr y on a map as well, as many students are not familiar with some countries. This has led the students to be more inquisitive, ask more questions, and reflect more on social issues.

tip 4 #

BRING MULTICULTURALISM INTO YOUR CLASSROOM. Most of our classrooms

and schools have a very diverse ethnic population. We must remember when talking about different cultures in our classrooms, it is very important to be sensitive to all groups. One mixedmedia project I am currently working

Glenda L

ubiner

of our keynote speakers at our National Junior Art Honor Society Induction. It makes for a great community connection as well.

tip #6

EVERYONE CAN DO IT! That’s right,

all students can learn how to do an art critique. When I taught kindergartners, the kids would look at art and tell me what they saw. We would look at lines, shapes and colors. As the kids got older, I added more elements and principles for them to look at. Now that I teach middle school, my students do eight artist research projects a semester. The students use a generic template that I made and list

The Dialogue of Art from Altamira, Spain, and Lascaux, France. To my surprise, the students love learning about what happened 15,000 years ago. The discussion progresses to the invention of the written word, architecture, technology, and life as we know it today. Talk about incorporating Common Core into the art classroom! When I taught elementary school, I would dress up as a cave lady. For other periods of art, I would also dress up … these costumes included Vincent and his bandaged ear, ATTENTION READERS If you would like to share some of your teaching tips, email them to: tipsforartteachers@yahoo.com

on is having my middle school students do a self-portrait using cultural and personal symbols.

tip #5

MUSEUMS ON US. For those of you

who don’t know, Bank of America offers anyone with a Bank of America account or credit card free admission to many museums around the country monthly. Many museums also offer grants, free transportation, and or free admission for schools. Contact your local art museum to find out what they offer. Many also include tours with their docents and hand-on workshops for the students. Every year I take my students to one of our local museums. I also have a museum educator be one

the artist’s name, place and date of birth and death, and what style of art they did. They must write a sentence or two about each element and principle of art they observe. Students can print out the picture they critiqued or draw it. Most of my students are enjoying the drawing process. HAPPY BIRTHDAY to Marsden Hartley (Jan. 4, 1877), Kiki Smith (Jan. 18, 1954), Jeff Koons (Jan. 21, 1955), and Peter Voulkos (Jan. 29, 1924). Thank you Keeli for your great tip. n

Arts & Activities Contributing Editor Glenda Lubiner (NBCT) teaches art at Franklin Academy Charter School in Pembroke Pines, Fla. She is also an adjunct professor at Broward College.

j a n u a r y 2 0 1 9 • 86 Y E A R S

www.ar tsandactivities.com

NEAVWAIL!ABLE

NOW ILS & IN O CS ACRYLI

CADMIUM-FREE ARTISTS’ COLORS

SAFE FOR YOU. SAFE FOR THE ENVIRONMENT. Researched, developed, and tested for over 3-1/2 years, Utrecht Cadmium-Free Artists’ Colors are the newest to perform with the richness of natural cadmium paint. Certified non-toxic and safe for your health and the environment, they’re proudly handcrafted in Brooklyn, New York.

To learn more, visit DickBlick.com and search #utcadfree

Alliance for Young Artists Writers

FREE 2019 Big Book coming soon!

BLICK

800•447•8192 DickBlick.com

5th Annual

Mixed Media

CONTEST

To enter visit DickBlick.com/mixedmediacontest