Submitted by Cindy Erickson

Do you teach DBAE, technique or creativity based?

What curriculum do you follow?

How many weeks do you spend on each project? (tells you whether the teacher is a broad-spectrum professor or a specialized teacher-depending on what you want....)

What is the best thing that has ever happened to you in the classroom?

How do you involve parents?

What plans do you have for outreach to the community?

How do you handle a student who  ____________(add a specific circumstance)?

What is your opinion regarding interdisciplinary teaching?

What are your long-term goals personally?  for our art program here at ______?

Can you please name for me 3 of the state standards for elem. art?   (Yow!)

Describe your favorite lesson plan in 50 words....

What 5 things do you want your students to KNOW when they leave your classroom?

Do you use written lesson plans?

Submitted by Maggie White (from TeacherArtExchange post)

What are some of the knowledge and skills that an art teacher needs in order to be effective in the classroom?
What qualities do you bring to this position that would benefit students?
Why do you want this position?
Tell how you would communicate with your parents. Give examples of ways that you would involve them in their child's learning.
Describe your style in handling discipline problems with students.
What projects and art show have you been involved with in teaching art?
Give a brief summary of your experience with or knowledge of:
Computer education and how you utilize it in the classroom.
What projects will you utilize with students in developing the students' skills?
Have you used thematic units in teaching? Is so, describe what they were and how you were involved in the development of these units?
Describe your philosophy of teaching art.
Describe your assessment philosophy.
What questions do you have for us?

Interview Questions Submitted by Sue Freeland:

How do you handle discipline in your classroom?
How would you handle special needs in your classroom?
What are your specific curriculum goals?
What do you expect students to learn from your class?

Interview Questions from Janice Jarreau

Directions: Read the question and write notes you might use in giving to the
interviewer. Pay attention to the TIPS, which are intended to guide your
answers.

1. What are your short range goals? (Tip: What kind of job are you looking for?)
2. Where do you want to be 5 years from now? (Tip: Talk about how you would prepare yourself for future jobs in the company).
3. What special skills do you have? (Tip: Talk about skills you would use in this job).
4. What kind of job are you most interested in? (Tip: Explain how your interests will help you do a good job).
5. What kind of characteristics do you feel are most important for this job? (Tip: Talk about the 2 or 3 positive characteristics you use most often in this job: Leadership, work under pressure, and so forth.
6. What is your greatest strength? Why do you think you can do this job better than anyone else? (Tip: Pick a strength that fits the job).
7. What is your major weakness? (Tip: It is all right to admit a weakness, but also talk about how you can turn it into a strength). +++ My answer to this question is; I am a perfectionist. You see, this can be a weakness, but more often it is an asset.
8. What were your most important achievements in your last position? (Tip: Review you accomplishments).
9. Could you tell me about yourself? (Tip: Don't get trapped!!! Ask specifically what the interviewer would like to know about you).
10. Why do you want to work for this company? (Tip: Compliment the company. Also explain how the company can benefit by your abilities). ++Dept. Head at my college said about teaching: Don't say because it is closest to my house! The main 2 reasons you should pick a school is because of the Principal (person) and because the school supports the Arts.
11. What kind of recommendations do you think you'll get from your previous employer? (Tip: Excellent, Good, -tell why. If you know for sure you will get a poor recommendation, don't be afraid to tell why, but follow up with a positive comment. Don't ever badmouth a previous employer).
12. How do you feel about overtime? (Tip: If this question is asked, you know that there are overtime requirements. If you can and want to work overtime, answer enthusiastically. Don't answer "Well if I have to").
13. How long will you stay with us? (Tip: Be positive Say something such as, "I look at this opportunity as the beginning of a permanent relationship).
14. Why should we hire you? (Tip: Give a summary of your most important qualifications and interests. Be enthusiastic).
15. Define the following: (you could also look these up in the dictionary)
     a) Cooperation (Tip: harmony, common goal)
     b) Responsibility (Tip: being accountable)
     c) Challenging (Tip: desire to explore new ways)

These are my most memorable interview questions - from Judy Decker

What is the most recent book you read? Why did you read that book? What did you learn from it?

Where do you plan to be ten years from now? What are your goals?

Briefly, what is your philosophy of Art Education and how do you intend to get that philosophy across in your teaching?

Tough Interview Question from a Getty TeacherArtExchange Member:

I went to an interview for a public school art job and the woman that interviewed me . . . . asked me to tell her the CURRICULUM  for ALL grade levels in the following medias: painting, drawing and ceramics. . . . How should I prepare for this possibly happening again?

Response from Marvin Bartel: As an interviewer, the purpose is to assess the candidates preparation and abilities in comparison to other candidates.  I think this interviewer is asking the right thing.  You want to a teacher that knows the field.

As a candidate, I would respond by saying that this is a great question, and follow with an articulate philosophy of art education, offering at least one good painting, drawing, and ceramics example to clarify my philosophy of art education.  This is difficult, but certainly worth preparing because it is the same preparation needed teach.

Response from Judy Decker: When I went to my first job interview and was asked what I would teach at what grade level (this was for high school), I handed him my complete curriculum guide. He was impressed with the variety of media. I was a "dreamer"..... I wrote up a curriculum for jewelry, ceramics, sculpture, fibers, drawing, painting, and printmaking - as well as an Art Fundamentals class. I may have had a crafts elective, too (don't remember now). Now a days, you would have to write one for Graphic Design/Computer graphics as well.

Maybe pre-service students should at least be required to write out a curriculum map of what they might teach at what grade level. I have a feeling the Interviewer was "testing" this applicant  to see if she was familiar with the stages of artistic development.

Here are some questions to post to the interviewer (oh, and take notes!) - from Pat:

  1. How much is the art budget?

  2. How big is the class size (be sure to ask for biggest!)

  3. How many students will I be serving? (example: if elementary are you
  going to see every student k-6? K-3? 3-6? If High School is every freshman
  required to take Art I?

  4. Be sure to see the room. If they don't show you the room a BIG RED FLAG
  should go up as either A) the room is small and outdated or B) you are art
  on a cart -- there are plenty of people on the list who can tell you what
  THAT is like.

  5. When you see the room BE NOSY! Go through the drawers and cupboards to
  see what is there and what condition it is in. You might get what you think
  is a large budget, but if you have to replace everything in the room, it
  will go fast.

  6. Ask about the discipline policy. I have run into too many principals who
  do not enforce discipline. Ask questions about typical problems and how you
  should handle them. (some want students in the office, others want you to
  handle everything)

  Now, if you're feeling nervy, then do some quick math and figure out the per
  pupil amount you are getting for a budget. If it is an insult, put it back
  to them. Ask them how they expect you to have a high quality program with a
  low quality budget. If you don't feel like putting it back to them, do the
  math at home and ask yourself if you can teach with that budget, conditions,
  etc.

  Also, some questions that you might not think to ask...

  6. Are you going to be required to perform any extra duties? New teachers
  get hid hardest with this. Everything from lunch or bus duty, to class
  sponsor and Prom planner. If so, are you going to receive a stipend for
  performing them?

  7. Does the district pay for continuing education? Believe it or not some
  schools will pay for a teacher to get a Masters degree. They have this weird
  idea that a better educated teacher makes a better teacher.

  8. How many hours per year continuing education does the district require?
  If it is a small district, the school will probably plan something for every
  teacher to do together. Bigger districts allow teachers to make some
  choices.

  9. Are there any contests or exhibits that you are REQUIRED to enter student
  art in? Examples: Scholastic or Youth Art Month.

  10. When finished with the interview sign and date the notes you took. If
  you want, have the interviewer sign and date it as well. This comes in handy
  later on if they try to change anything they told you in the interview. (big
  one? budget--they'll cut you any chance they get--if they try and you are in
  high school get the public records for how much money is spent on the
  football program (you'll be surprised at how much this is!--I taught at a
  school that played six man football and spent $100,000 a year WATERING THE
  FOOTBALL FIELD--and ask what percentage they are cutting of this funding
  (this always throws them for a loop).

What to Include in a Teaching Portfolio

These responses were generated on ArtsEducators' list serve at the request of Dan Cherney, student teacher.

From Ken Schwab: I have had to hire 4 new teachers in the last few years.  I would say that I
look to see a portfolio from the applicant, some don't bring one.  In this portfolio any scores on the Praxis would be great. (I was a reader for that test) In the work to be shown, it is important to show your own work and to prove that you have the skills, but more importantly, to show student work.  So many artists are great in doing their own work but if you can also get it out of the students, then it is a real good indicator of the kind of teacher you are. Some teachers are able to get much better results from their kids than they can do themselves.  As an interviewer I would like to see both and as many examples as you can offer.  Slides, prints (photo's) or actual works.
~ Ken Schwab, Art teacher, Leigh High School, San Jose, CA

From Bunki Kramer: While you are still student teaching, make sure you take some 35mm
photos of you teaching kids, student pictures of their working on your projects, and finished student project works. Make sure all the kids and you are SMILING! As the adage says, "A picture is worth a 1000 words". The image will stay in the employer mind's eye. When they think of you, they will conjure up the images of smiles and products. If you can bring a few easily-carried products, so much the better. Many administrators haven't a clue about the process of art and are tuned in to product-oriented examples to see how you will showcase the school and how you will handle discipline while producing.

I agree with your advisor...forget showing your grades because you won't be considered a "student" anymore but will be labeled a "professional" already graduated. You'll need resume, maybe schooling, lots and lots of photos (maybe an album like I did), a lesson plan with a finished product, and maybe your philosophy (though I never had to deliver one). If you've had other experience....like teaching art in summer camp, volunteer work with special ed., any little extra things like that are helpful. Add a few photos of your own work.

My personal experience has been that educators are looking for someone who can deliver products, make them look good (showcasing), handle his/her own discipline in the classroom successfully without administrator help, and is a team player who will blend in with their faculty comfortably. It's really all about what YOU can do for THEM.
~ Bunki Kramer, Los Cerros Middle School

From Professor Craig Roland: Here are the guidelines (in a PDF file) that art education students
use at the University of Florida to assemble their teaching portfolios:
http://plaza.ufl.edu/rolandc/arted/courses/portfolioguidelines.pdf

Students' portfolios must pass a final review by the two art education faculty and an outside evaluator (typically a local art teacher) in order for them to graduate.  You might be interested in seeing the rubric we use to score these portfolios.  It's also a PDF file (requiring Acrobat Reader) and can be found at:
http://plaza.ufl.edu/rolandc/arted/courses/rubric.pdf

While we've used teaching portfolios here at UF for years, its only been recently that they've become a "high-stakes" situation.  A few years also, Florida mandated that all beginning teachers in the state
must demonstrate 12 Educator Accomplished Practices in order to be certified.   In addition  to using portfolios to determine our students' readiness to enter the classroom, we also use formal written observations by the cooperating teacher and university supervisor of the students' actual teaching in the classroom.

As you've no doubt discovered, constructing a teaching portfolio is a pretty exhaustive process.  Our experience with them here at UF suggests that the work pays off.  Most of our students who go looking for jobs get rave reviews by potential employers and often get hired based largely on what they show in their portfolios.

(In another post) The expectations indicated on this list http://plaza.ufl.edu/rolandc/arted/courses/portfolioguidelines.pdf (as well as the portfolio development  process) are fully integrated into a four-year program and students are given lots of assistance and feedback along the way. Our students begin collecting materials for their portfolios from the moment they enter the Introduction to Art Education class and continue to do so up through their student teaching. 

I try to simplify the expectations (for both students and myself) with my own translation
of what the state is expecting.  It goes something like this:

You need to be able to show in your portfolio that you:

1. Use both traditional and alterative forms of assessment to evaluate and assist student learning and performance in the classroom.

2. Write and speak clearly.

3. Engage in professional activities beyond the classroom that lead to self improvement.

4. Teach your students to think--critically and creatively.

5. Differentiate between students and adapt your lessons accordingly.

6. Conduct yourself in a professional manner.

7. Provide a positive learning environment for all students.

8. Know your subject and are able to translate that knowledge into effective lessons.

9. Can manage an art classroom.

10. Incorporate a  variety of methods, activities and resources in your teaching.

11. See to it that you contribute to your school  and community.

12. Use technology to promote student learning.

Seen this way the expectations don't seem so overwhelming.
~ Craig  Roland -  Associate Professor of Art Education - School of Art and Art History - University of Florida

From Patty Knott: This is what I look for.  As department coordinator, I am asked to sit in on interviews. I take care of the art part because the administrator doesn't know.

I want to see a portfolio of the teacher's work.   I do, in fact, want to know that the potential teacher is capable of making art. I want to see that the art making goes beyond "crafty"   I want to see exploration and some articulation of purpose. I want to see more than just "dabbling into various processes."

I want to see a portfolio of student work and I want to see  exploration of potential in that student work. I don't care about "slick"  I want to see thinking process. I want to see original lessons, I want to see  that students are encouraged to pursue individual thought.

I want to see a lesson plan.  I want to see that the potential teacher knows what an objective is. I want to see objectives not activities.   What is being achieved?   I want to see lessons that start with a big question and then go backwards. I want to see more than achieving a skill or technique, I want to see thinking process.

I asked my interviewees, "What is your philosophy of art ed?"  and my questions are pointed to know that there is some sense of history as regards to the philosophies -- Lowenfeld, Bartel, Eisner, etc...

And I expect to be interviewing next year. My big concern will be technology. I firmly believe we engage the "fringes' of kids by offering  the experiences that the computer can give. I want to know that a candidate for a position has the knowledge and foresight for using technology to it's potential and not just for "noise."

And then there are my observations form the administration side --- they don't care about art they want to know about basic teacher stuff

• They care about classroom management stuff.

• They will ask about the latest "buzz words"  and judge you by your responses.

• They will want to know how you will make parent contact.

• They will want to know that you will give 200% for extracurricular
  activities.

• They don't want to hear you say "no" to anything.

• They want to know how you "differentiate."

• They want to know that you create student directed lessons.

• They want to know that you know all the crap going on and you are willing to
  go along with it.

• They don't want to know that you think - they only want to know you go
  "along"

The process differs from district to district. Some want you to actually present a lesson.
In my district, even when you get beyond the principal and supervisor, the Superintendent hammers the candidates. 

My last best advice is: Be prepared for the toughest questions. Don't rely on what you may think is sound education. Play the "game" and spout jargon but be careful that you may be smarter than they are. ~ Patty Knott

From Tehya May: When I interviewed for art positions I created a binder which was divided into several sections. Of course the basic information such as resume, transcripts, practice teaching evaluations, test scores (Praxis) etc. were all included

Also included were one or two samples of complete unit lessons (with examples of student work-- either the actual work, photos or slides, worksheets I had created, tests, study guides, notes...Power Point presentations.... notations made as to what state standards they correlate to)

Probably one of the best things I included was a videotape of myself teaching class (& the students on task after instruction time.)

My portfolio eliminated many of the traditional questions that the interviewers had to ask--because they could "see" what I was doing, or how --and had the time to look over everything.  When interviewing with the portfolio I always felt confident. It is definitely a good thing to update from year
to year.

From Maggie White: I have a teacher portfolio that principals seem to like.  I keep everything in a
nice-looking three-ring binder.  Most of the things are in plastic sheet protectors; pages are placed back-to-back so all pages are viewable without having to slide things in and out..   I have it organized like this:  Resume-Since a resume was not required at the time of application for this particular job (a recent job interview), I made an extra copy to hand the principal to keep with my application.  The next section is labeled Curriculum--here I have a curriculum map and sample lesson plans which show my versatility and knowledge of the standards.  The next section is Assessment--the rubric I use for grading, the rubric I post around the room for the students (my version of one that Woody Duncan wrote), and the critique form the students fill out after an assignment.  I don't give tests in my studio classes, but I included slides of student work in a variety of media.  I wouldn't take actual artwork in if I were you.  The next section is Certificates and Recommendations (from former administration and teachers), along with my fingerprint card.  Then comes Transcripts, and the last section is a copy of a presentation I gave at NAEA.  Except for the resume, I don't make copies of anything.  If the interviewer would like copies of anything, they can have it done in the office.  Some interviewers have really read the portfolio items carefully, some flip through it (just to be polite?), and some don't even look at it.  Resist the urge to talk or explain anything in your portfolio unless someone asks you a question.  Let it speak for itself.

How to Prepare for an Interview - Advice from Ken Rohrer (former principal)

1) Bring along a portfolio. If you can put your portfolio on a CD, make a copy for the principal and
anyone else on the interview team. You can leave this with them after you leave.

2) Convince the principal that you will use art to raise test scores by integrating some of your lessons
into the core subjects.

3) Be prepared to share your strengths and weaknesses.

4) Search their website for details about the school that you can incorporate into your interview. For
example, if they are really into Howard Gardner, talk about how you will help visual learners to succeed in school.

5) Be positive and energetic during the interview.

6) Describe what you can do for the school and district.

7) If there will be other art teachers present, mention Discipline-based art education. If you don't
know much about it, read up on it. Added by Judy Decker: Know about other current trends in art education (Visual Culture - Brain Based - TAB Choice - Multicultural). Be able to tell how these have influenced your own way of teaching. Many in the art field are leaning more towards Choice as the way to go to develop real problem solvers.

How to Land that "Dream Job" - Advice from Ken Rohrer (former principal)

When a position opened in my school I gave preferences to those who were excellent substitute teachers in the building. Second on the list were those who had interesting resumes that were hand delivered to the secretary. Third were those that were sent directly to me and last, the ones that were sent to the central office. I always hated going there because they had thousands of resumes to wade through. Although they preferred that I look at all of them, I simply didn't have the time to go through hundreds of resumes.

My recommendation is that you first design and write a quality resume and cover letter. You then find out which school has an actual opening and then send the principal your resume. You will also need to send it to the central office just in case they have procedures you need to follow. Lastly, you need to apply online because many districts are now scanning resumes that are submitted online. Do a little research on writing resumes that come to the top in
scans. These scans will eliminate 90% of the resumes and the remainder are then read by the principal and/or interview team. It is possible that a resume can be posted or sent to a school district and never be read by a human.

Networking is also crucial to the job search. At this time of year it will be difficult to visit with principals, but in March and April- call a principal and tell them that you would like their advice on the quality of your resume. Tell them you don't want an interview, you just want their advice. Substitute teach in the district you desire and let the principal know you are looking for a job. While in each building, talk to the art teacher and ask them if they know any of their colleagues who are leaving the profession or of any art openings that may become available.

In highly competitive areas, you will have do go beyond simply sending in a cover letter and resume.

How to Land that "Dream Job" - Advice from Judy Decker

You will need to do something that makes your letter stand above the rest. What if you created a web page about you and your work? - have work of your students and sample lesson plans (from student teaching) and your own work (no names on student work of course -- but even then permission should be granted for use of student work). Include the URL in your letter. Another option would be to create a PowerPoint about you - your work and student work. Send the PowerPoint on CD along with a sample lesson plans showing core integration - comprehensive arts - and knowledge of Internet/technology (all on the CD). Do something that sets you above the others and will make you stick out in their mind. Be different. Maybe wear and original fine art pin (For guys? an unusual tie clasp? Can you get by with a fine art tie these days in an interview?) When you go for an interview be prepared to teach them a mini lesson - take supplies and visual resources with you for the lesson (just in case). 

This is what got me my "dream job" (pre-technology for me)

The superintendent who interviewed me liked my answers. The interview lasted more than two hours. The super in the district at that time wanted to make the final decisions. Both principal and super liked my honesty in the way I answered questions about previous jobs.

This is the question that got me the job:

"What is the most recent book you read? Why did you read that book? What did
you learn from it?"

I had just finished reading "ALL I REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN" by Robert Fulghum. We talked a lot about it - and Character Education (What kids really needed - I was ahead of my time - this was 1991).

On my way home, I stopped at the store and bought a box of 64 crayons. I wrote a meaningful Thank You letter - hitting some key points of the Interview - and mailed crayons and letter to the superintendent. Sure, it was a gamble. That would never have worked with present administration. The former superintendent really liked me. We had the same goals for students - same philosophy (Interdisciplinary connections were important to him, too - Art is key to learning in all subjects).

My portfolio was good, too, as it included sample kids' art and lesson plans. It also helped that I had done a long term sub position in the district a couple years prior. If you haven't subbed much - DO! And get involved with the local art association. I taught art classes at our association. The recommendation from them also clinched the job for me. What also impressed him was I knew the phone numbers of my references so he didn't have to look for them - I rattled them off for him from memory. Chuckles - he did wonder if I always dressed so nice (I had worked retail before - so had my share of suits at the time). I had three interviews (with three administrators) and wore three different suits.

How to Land that "Dream Job" - Advice from MaryAnn Kohl

Submit something creative. How about this:
Design a cereal box called Super Teacher Bits (or something better than that)-- and cover a real cereal box with things all about you....some art work, some background, like your nutritional facts could be: 100% dedicated, 200% excited to teach, etc. or 100 mg. dedication, 200 mg. determination. I think your picture could be like a sports star on a Wheaties box. And I would add art work too.

All of this could be done with a computer, but could be done on paper glued over the box.

Something to catch their eye, to show you are creative, to show you have spunk.

MaryAnn Kohl
art author Brightring.com

(From Judy: Put your CD and a few samples of art inside - these could be photographs)

Job Fair Interview Advice from Ken Rohrer (former Principal):

As a former principal who attended a few of these to find candidates, I recommend that you take a portfolio along. Have your art reduced to fit in a portfolio that is about 11 X 16. Include your best projects and lessons. (the ones you did in college)

If the place is packed, I would recommend saying something like this:

"I know that you have seen many people today and probably are having a hard time separating each candidate, so I won't waste your time. Here is my portfolio. It will show you how I will help students succeed in your school...."

It's also a big plus (if it's an administrator interviewing) to have some lessons that address various state standards and NCLB. You can integrate art into a few subject areas such as math, language arts and reading. Because of the tremendous pressure on them to improve test scores, they will be anxious to hire an art teacher that they think will help increase scores in the school.

If you know what schools are interviewing at the fair, visit their respective web sites and research the programs and philosophies that they use. Make sure you address these in the interview.

For example:

"I know that your school embraces the Basic School by Ernest Boyer. I also embrace his philosophy and......"

"Your school is big on learning styles and I have proficiency in each of Howard Gardner's multiple intelligences. I can address the majority of these intelligences in my lessons...."

"Your school is a big supporter of the 4 Block program. I have created lessons that integrate all four blocks...."

---

NAEA PUBLICATIONS

REACHING AND TEACHING STUDENTS WITH
SPECIAL NEEDS THROUGH ART

No. 296
Beverly Levett Gerber and Doris M. Guay, Editors.

This book is written for art teachers and those who value the arts for students with special needs. It provides an overview of special needs students in the art room.
Special needs groups are addressed separately and include current definitions and descriptions and recommended teaching strategies. In addition, art lesson adaptations and behavior management strategies are included.
Follow-up activities are provided at the end of each chapter to gain further insights into each group of students. It also addresses school-wide concerns: collaboration among teachers and school staff; art therapy and therapeutic teaching; paraeducators in the art room; and resources for the arts for special needs students.
Readers are also given step-by-step directions in order to obtain funding to expand their own teaching opportunities.

222 pgs. {2006}  ISBN 1-890160-36-9
$25.00; Member Price $20.00  (Order Information)

 

Interdisciplinary Approaches to Teaching Art in High School

Order No. 226

By Pamela G. Taylor, B. Stephen Carpenter, II, Christine Ballengee-Morris, Billie Sessions.

The authors present works of art, artmaking skills, and ways of knowing as catalysts for learning across the traditional disciplinary boundaries in high school. Both timely and enduring, this is the book that will inspire and support the work of veteran, new, and pre-service high school art teachers. The book includes issues, theories, and practices related to high school curriculum, advocacy, classroom management, assessment, cultural understanding, idea-based instructional strategies, team-teaching, technology, visual culture, and student-initiated learning. The authors draw upon their own experiences and those of other high school art teachers to create a motivating and provocative text that challenges readers to critically and continually reflect, collaborate, read, and research their own interdisciplinary thinking, teaching, and learning processes.

Order No. 226
174 pgs.  {2006}  ISBN 1-890160-35-0
$25.00; Member Price $20.00    (Order Information)

WORK, PEDAGOGY AND CHANGE:
FOUNDATIONS FOR THE ART TEACHER EDUCATOR

By Lynn Beudert 

This book acknowledges the complexity and dignity involved in the work of art teacher education within higher education today. Implicit within its pages is the notion of change and its affects on the daily working lives of educators involved in preparing art teachers. Art teacher educators' narratives and voices, interwoven within the text, shed light on the challenges and joys — intellectual, institutional, curricular, pedagogical, emotional, moral and artistic — that affect the professional and personal growth of college and university faculty members, graduate students and K-12 practitioners, as they teach and work with pre-service teachers. This book offers aspiring, beginning and experienced art educators shared glimpses into a range of authentic and individual art teacher education life-worlds and institutions, as well as possibilities for practice and self-reflective inquiry.

Order No. 265
Work, Pedagogy and Change:
Foundations for the Art Teacher Educator
180 pgs. (2006) 1-890160-34-2
$25.00; Members $20.00   (Order Information)

INSTANT ART, INSTANT CULTURE: THE UNSPOKEN POLICY FOR AMERICAN SCHOOLS

Order No. 247

By Laura H. Chapman.

Chapman critically examines the reasons for the token educational programs
many schools offer in all the arts, including music, dance, and theater, but
with particular emphasis on the visual arts.  She writes with conviction on the
importance of effecting change in attitudes and school practices that actually
prevent many children from studying arts on a regular basis. Chapman devotes
much of the book to providing suggestions for improving school instruction in
the arts.

Among the topics covered are: What should be taught in an arts program and
who should teach it; why a school curriculum  should include the arts, sciences,
and humanities as core subjects for all students; how to improve teacher
education programs; what models for change have been suggested by various panels
and federal groups, and how effective they would be.

Order No. 247
Instant Art, Instant Culture:
The Unspoken Policy for American Schools

224 pgs. (Reprinted 2005) ISBN 0-8077-2722-9
$25.00; Member Price $20.00 (Order Information)

NEW FROM NAEA!
"Visual Culture in the Art Class: Case Studies"

ORDER  NO. 264

By Paul Duncum.

This anthology offers reports from teachers on a range of classroom and
community pursuits informed by studies of visual culture. All of these teachers are
rethinking the purposes and scope of art education. Many of their narratives
include theoretical ideas along with significant details about teaching
methods and indicators of student learning. This anthology demonstrates that studies
initiated under the banner of visual culture take many forms in practice, may
have different theoretical emphases, and are not entirely new in every
respect. In the context of art education, they provide an occasion to students and
teachers to consider who has authority in deciding what counts as "art," when,
in what contexts, with what consequences, and for whom.

Order No. 264
VISUAL CULTURE IN THE ART CLASS: CASE STUDIES
194 pgs.. (2006) ISBN 1-890160-33-4
$25.00; Member Price $20.00  (Order Information)

"Multicultural Artworlds:
Enduring, Evolving, and Overlapping Traditions"

Mary Erickson and Bernard Young, Editors.

This book has three foci that guide art educators in addressing these
important concerns: 1) multicultural art education, 2) alternative artworlds, and 3)
the maintenance and evolution of art traditions. Attention to these foci help
guide teachers of art in developing art curricula that are inclusive, that
promote high standards of art achievement, and that are culturally sensitive.
Multicultural Artworlds offers a rationale, a model curriculum unit, and sample
lessons for guiding students in investigating key people, places, activities,
and ideas of some of the historical and contemporary artworlds that make up the
complex art traditions of North America. The first section presents
foundations for multicultural art education. The second has 15 artworld-centered
lessons developed by practicing elementary, secondary, and university art educators.
Section three includes resources for teaching one multicultural,
artworld-centered curriculum unit.

Order No. 275
MULTICULTURAL ARTWORLDS: ENDURING, EVOLVING, AND OVERLAPPING TRADITIONS
158 pgs. {2002} ISBN 1-890160-20-2
$25.00; Member Price $20.00 (Order Information)

CULTURE AND THE ARTS IN EDUCATION:
CRITICAL ESSAYS ON SHAPING HUMAN EXPERIENCE

By Ralph Smith


Co-published with Teachers College Press. Stated baldly, invidious
postmodernism holds that works of art should be understood not in terms of their
aesthetic properties and content so much as in the ways in which they can be
understood in terms of the social and cultural conditions that produced them.
Postmodern art educators further tend to politicize art and art education along the
lines of radical Left thinking.  The belief is that decisions about content and
teaching are determined by dominant groups in the society whose primary
concern is to maintain their power and authority, which is construed as a form of
oppression.

It therefore becomes the obligation of instruction to expose such conditions
through deconstructive analysis and to foster in students a critical attitude
that predisposes them to social reform.  The reigning disposition is to
question the legitimacy of typically Western values, namely those of knowledge,
meaning, truth, value, objectivity, and the possibility of communication itself.
In other words, the culture wars carried on in the disciplines of university
departments are now being waged in art education as well.

A consequence is that radical reform should supercede ways of teaching art
that stress the importance of aesthetic and artistic values.  In other words,
art education becomes just one more means for promoting social change.  It has
been suggested that having lost the larger ideological battle to advance
Marxist tenets, adherents of postmodern theorizing now direct their energies toward
undermining the structures of authority wherever and whenever they find them.
"I think there is some truth to this suggestion," states Smith.

Order No. 223
Culture and the Arts in Education:
Critical Essays on Shaping Human Experience
177 pgs. ISBN 0-8077-4654-1
$20.00 member; $23.00 non-member  (Order Information)
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INSTRUCTIONAL METHODS

ORDER NO. 261

Instructional Methods for the Artroom

Andra L. Nyman, Editor. Selected NAEA Advisorys provide a ready collection of information for classroom teachers, for new teachers, and for faculty who are concerned with implementing effective instructional methods of teaching in the art classroom. The collection includes reprints of Advisorys that translate theories about learning and teaching and make suggestions concerning practical applications to instruction in art education. These reprints address the following topics: motivational techniques for the art classroom; organizing and implementing curricular material; managing student behavior; organizing the classroom environment; instructional techniques and strategies; evaluation and assessment of student work; working with student teachers.

50 pgs. {1996} ISBN 0-937652-93-8
$20.00; Member Price $9.00 (Order Information)

Student Art Exhibitions

ORDER NO. 268

Student Art Exhibitions: New Ideas and Approaches

Bill Zuk and Robert Dalton, Editors. The display of student art is much more than pictures on a wall and an eye pleasing arrangement; this is a text that conveys a great deal about the ideas and accomplishments of both teachers and students. New thinking on goals and methods of student art exhibitions allows us to more thoughtfully construct that text and invites educators to share 'best practices.' Student Art Exhibitions: New Ideas and Approaches includes sections on: cultural and historical perspectives; students as curators; planning and presenting an exhibition; pedagogical exhibitions and advocacy; and new venues on the web.

88 pgs. {2001} ISBN 1-890160-18-0
$18.00; Member Price 12.00  Order Information

Educationally Interpretive Exhibition: Rethinking the Display of Student Art

By Kelly Bass, Teresa Cotner, Elliot Eisner, Tom Yacoe and Lee Hanson.

Order No. 207

 Rethinking the Display of Student Art focuses upon an educational model,
rather than on a gallery model. The interpretive exhibition of student artwork is
intended to help people understand the relationships between thinking and the
creation of visual art. The 28 full-color images throughout the booklet
illustrate how the exhibition was arranged and constructed; the final section of 47
"General and Theoretical Quotes" is especially helpful for literature
pertaining to cognitive and artistic development. It makes a useful contribution to
arts education, advocacy, and educational reform i.e., state standards,
frameworks, and assessment.

20 pgs. ISBN 0-937652-99-7
$15.00; Member Price $10.00 (Order Information)

STUDENT BEHAVIOR IN ART CLASSROOMS

ORDER NO. 219


Student Behavior in Art Classrooms: The Dynamics of Discipline

By Frank Susi. This book helps you solve problems 5 ways! It offers practical suggestions and ideas; helps to connect instruction and student behavior; outlines strategies for preventing misbehavior; suggests approaches when discipline problems occur; summarizes research studies in thousands of classrooms to help understand misbehavior and prevent it. Example topics include: Setting rules, Monitoring, Arranging the artroom, Eye contact, Teacher behavior, Ownership, Preventive practices, Contracts, Keeping records, Punishment, Violent behavior, and much more. A cardinal resource for teacher preparation programs, student teachers, and staff development libraries.
41 pgs. ISBN 0-937652-75-X
$20.00; Member Price $9.00  Order Information

YOUR FIRST JOB INTERVIEW

ORDER NO. 419


By Richard Doornek, with contributions by Kellene Champlin. If you are
seeking an art teaching job in an elementary or secondary school, these seven pages
are very valuable. Advice on your job application, resume, and letters of
recommendation — and most important, advice on your job interview — the kinds of
questions you will likely be asked, and what the interviewer hopes for in
responses. Also, important tips on appearance, voice, manner, and attitude.
ISBN 0-937652-55-5
$3.50; Member Price $2.00  Order Information

A Must for New Teachers!

“APPLESEEDS”

NO. 405

Virginia M. Brouch, Fanchon F. Funk, Editors. A 44-page brochure for students and first-year teachers. Contains practical hints and insights on discipline, motivation, exhibits, attitudes, promoting art, and more. Advice on questions and problems that arise during the first challenging year. A must for students and first-year professionals.

ISBN 0-937652-35-0
$7.00; Member Price $4.00  Order Information

SPHERES OF POSSIBILITY: LINKING SERVICE-LEARNING AND THE VISUAL ARTS

By Carol S. Jeffers.

Service-learning can assume many shapes and serve multiple purposes. It can
be used to develop in students a sense of belonging to their community, an
understanding of the diversity of their surroundings, a deeper empathy for those
less privileged than themselves, a sense of social responsibility, and a
greater understanding and respect for the knowledge that is created and resides in
communities that are often less visible to the public eye.

Service-learning is clothed in a patchwork quilt, stitching together, a
montage of questions, of stories and revelations, a collaged narrative that is
comforting and discomforting, yet remains elegant, if frayed at the edges.

The power of a well-structured service-learning experience is that it crosses
the boundary between campus and community providing students with an
authentic experience linking the classroom to the practical world. These are lessons
here for all of us in service learning to enjoy, whether our discipline lies
within the visual arts or not. Jeffers Release 14.30.02

Order No. 258
Spheres Of Possibility: Linking Service-Learning And The Visual Arts
160  pgs. (2005)  ISBN 1-890160-32
$25.00; Member Price $20.00

A D V O C A C Y   F R O M   N A E A

Elementary Art Programs: A Guide for Administrators

This updated volume addresses fundamental issues central to the administration of elementary art education in American schools.  It answers questions about key standards concerning content, materials, instruction, and more.  This guide also addresses fundamental questions school administrators should ask about elementary art programs and is an important policy resource.  It is also designed to provide suggestions on organizing, implementing, and assessing elementary art programs. Includes sample floor plans and photos of assorted storage units, sinks, tables, and much more. Use with parents, community groups, and architects.

Order No. 248 Elementary Art Programs: A Guide for Administrators
24 pgs. {2004} ISBN 0-937652-58-X
$15.00; Member Price $10.00  http://www.naea-reston.org/publications.html 

Design Standards for School Art Facilities
Mac Arthur Goodwin, Editor

This visual resource from NAEA includes over 60 photos and floor plan drawings of specialized art studio rooms. The guide contains Art Room Planning in elementary, middle/junior, and senior high schools; General Specifications (space, lighting, safety, computers); and Specialized Art Rooms (ceramics, kiln room, printmaking, technology) and much, much more. Also included are numerous resources for state and federal agencies, manufacturers, organizations, and others that keep current on specifications, codes, health hazard regulations, and legislation. Includes application forms for Art Facilities Award.

Order no 204 - Design Standards for Art Facilities - 34 pgs. {1993} ISBN 0-937652-66-0
Nonmember Price: $15.00
Member Price: $10.00

R E S E A R C H   F R O M   N A E A

Handbook of Research and Policy in Art Education

Elliot Eisner and Michael Day, Editors. Handbook of Research and Policy in Art Education marks a milestone in the field of Art Education. Sponsored by the National Art Education Association and assembled by an internationally known group of art educators, this 36-chapter handbook provides an overview of the remarkable progress that has characterized this field in recent decades. Organized into six sections, it profiles and integrates the following elements of this rapidly emerging field: history, policy, learning, curriculum and instruction, assessment, and competing perspectives. Because the scholarly foundations of art education are relatively new and loosely coupled, this handbook provides researchers, students, and policy makers (both inside and outside the field) an invaluable snapshot of its current boundaries and rapidly growing content. In a nutshell, it provides much needed definition and intellectual respectability to a field that as recently as 1960 was more firmly rooted in the world of arts and crafts than in scholarly research.

Order No. 292 Handbook of Research and Policy in Art Education
888 pgs. {2004}  ISBN 0-8058-4972-6 [paper]
$130.00; Member Price $90.00 
WEB ORDER FORMS: http://www.naea-reston.org/publications.html   Order Information

N E W  F R O M  N A E A

Writings in Art Education: Recipients of the Manuel Barkan Memorial Award 1970-1999

Paul E. Bolin, Editor. This book is a compilation of the published articles selected to receive the Manuel Barkan Memorial Award between the years 1970 and 1999. The Manuel Barkan Award was initiated by the National Art Education Association in 1970. The award was established to honor Dr. Manuel Barkan (1913-1970), a prominent and influential art educator throughout the 1950s and '60s, and faculty member in Art Education at The Ohio State University from 1947 until his death in 1970.  Dr. Barkan's scholarly dedication and thoughtful insights have left a legacy for the field through the many people he has influenced and vital ideas he proposed and published. Manuel Barkan's significant contributions to art education through his involvement in the 1965 Penn State Seminar and other professional venues helped to establish a direction for art education that affects the field even today. The work of these authors individually, and now collectively, offers a valuable view of conditions in the field of art education throughout a period of 30 years. They reflect conditions and thoughts of the time in which they were authored and published, and help us to trace and explore connections between salient ideas in our field and significant contextual matters of the times in which they were written.

Order No.236 Writings in Art Education
217 pgs. {2005} ISBN 1-890160-30-X
$25.00; Member Price $20.00   Order Information

ASSESSING EXPRESSIVE LEARNING

By Charles M. Dorn, Stanley S. Madeja, and F. Robert Sabol. A practical guide for teacher-directed authentic assessment in K-12 visual arts education, Assessing Expressive Learning is the only book in the art education field to propose and support a research-supported teacher-directed authentic assessment model for evaluating K-12 studio art, and to offer practical information on how to implement the model. This practical text for developing visual arts assessment for grades 1-12 is based on and supported by the results of a year-long research effort involving 70 art teachers and 1,500 students in 12 school districts in Florida, Indiana, and Illinois. The purpose of the study was to demonstrate that creative artwork by K-12 students can be empirically assessed using quantitative measures that are consistent with the philosophical assumptions of authentic learning and with the means and ends of art, and that these measures can reliably assess student art growth. Use as a text for undergraduate and graduate classes in assessment, and highly relevant for college professors, researchers, and school district personnel involved in the education and supervision of art teachers, and researchers interested in performance measurement. Order information below.

Order No. 211, Assessing Expressive Learning
208 pgs {2004) ISBN: 0-8058-4524-0
$27.00; Member Price $22.50  Order Information

THE CHANGING ROLES OF ARTS LEADERSHIP

Bonnie Rushlow, editor. The role and expectations of the arts
supervisor and administrator have expanded beyond managing personnel
and programmatic activities to informing policy decisions. Legislation
such as The No Child Left Behind Act exacerbated this paradigm shift.
 Thus, the role of arts supervisors and administrators as leaders of
change has become more critical than ever.  The authors understand the
implications of this shift and the resulting changes in the
responsibilities and expectations for effective arts administration.

Chapters include: Influencing Public Perceptions, Developing a Culture
for Arts Leadership, Rethinking Candidate Supervision in Pre-Service
Teacher Education: Forging Collaborative Partnerships, Mapping a
Data-Informed Path to Change: Select Research Findings, and Their
Implications for Art Education Leaders, No Child Left Behind in Art?
and more.

Order No. 225
The Changing Roles of Arts Leadership
212 pages (2005) ISBN 1-890160-29-6
$25.00; Members $20.00   Order Information

WHAT SHOULD ART TEACHERS KNOW AND DO?
STANDARDS  FOR  ART  TEACHER  PREPARATION

ORDER NO. 412

Carole Henry, Chair.  Guidelines and standards include three sections:
standards for the art program, standards for art education faculty,
and standards and skills for art teacher candidates.  The standards
are inclusive of the National Association of Schools of Art and Design
(NASAD) and the National Council for the Accreditation of Teacher
Education (NCATE) requirements.  The art teacher candidate categories
are inclusive of those aspects identified as essential to effective
teaching developed by NBPTS (National Board for Professional
Teaching Standards) and INTASC (Interstate New Teacher Assessment and
Support Consortium).  The Standards offer expert resources useful to
school boards and districts: interviewing, selecting, and employing
qualified art teachers; art teacher appraisal/evaluation; and content
topics for staff development and continuing education programs.
28 pgs. ISBN 1-890160-11-3
$15.00; Member Price $10.00

ORDER INFORMATION: Payment must accompany order.  Shipping and Handling:
Canadian add 25%; foreign add 40% shipping. Virginia residents add 5%
sales tax. U.S. shipping/handling: up to $10.00 add $3.00; $10.01 -
$20.00 add $4.00; $20.01 - $35.00 add $5.00; $35.01 - $70.00 add
$6.00; over $70.00  add $8.00. PREPAID ORDERS: All orders under $75
must include payment. All orders from bookstores must be prepaid.  NO
RETURNS will be accepted unless order was damaged or incorrectly
filled.  ALL CLAIMS must be made in writing within 30 days of
delivery. INVOICED ORDERS: Orders over $75 may be invoiced and must be
accompanied by a purchase order.  Mail to: National Art Education
Association, 1916 Association Drive, Reston, VA  20191-1590. FAX/PHONE
ORDERS using Visa and MasterCard may be faxed to 703-860-2960 or by
toll free phone to 800-299-8321 (8:30am to 4pm EST). or use NAEA order form

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"TEACHING TALENTED ART STUDENTS"
By Gilbert Clark and Enid Zimmerman

Order No. 294
160 pgs. (2004)   ISBN 0-8077-4445-X
Price:  $25.00; Member Price:  $20.00

Based on more than 25 years of work and research in the field, Clark and
Zimmerman present contemporary issues and theories regarding the education of
artistically talented students.  The authors provide practical information on how teachers and administrators can develop curriculum and programs that help students realize their visual-arts talents.  Clark and Zimmerman show how students should be encouraged to focus on communication and expression, create unique and complicated works using real-world issues and images, seek critiques from teachers and peers, and explore historical and contemporary imagery by other artists whose work relates to their own.

Features:

o Refutes widely held misconceptions of learning in the visual arts, providing readers with sound, research-based approaches to teaching artistically talented students.
o Provides 40 illustrations and 35 figures that include practical applications of identification, curriculum frameworks, and assessments related to art talent development.
o Provides a comprehensive review of relevant literature, discussing the
intellectual history of significant concepts.
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"Pathways to Art Appreciation:
A Source Book for Media & Methods"
by Al Hurwitz and Stanley S. Madeja with Eldon Katter

This text is a source book for art teachers for the teaching of art
appreciation at all levels.  Content strands are carried throughout the book. Each
chapter opens with a general discussion about various approaches to the study of
art related to the "teaching of art appreciation." Instructional strategies and
art activities are presented in a separate "Things to Do" section  "Things to
Do" appear throughout the book as various issues are discussed.

At the close of each chapter, "Assessment Strategies" that contribute to the
teaching of art appreciation are addressed.  Formative and summative
assessment activities can be found throughout the book.  Many instructional approaches
in the "Things to Do" strand are dual purpose, being applicable to assessment
and to instruction.  The "Games" in Chapter 5 are examples of this duality. 
A special chapter is offered on developing art appreciation through studio
experience.  Since the education of art teachers is still studio rather than
theory centered, it is assumed that most teachers will find ways of applying
their knowledge of art materials and processes to make the connections necessary
to link art appreciation to studio experiences.  The problems that students
engage in as they work with clay, paint, collage, etc. provide sensory
reinforcements for content in the realms of history and criticism. 
This book accomplishes two goals: to help dispel the unnecessary mystique
surrounding art appreciation, and to clarify the significant ways in which this
far-reaching subject can excite, motivate, and enhance the lives of students. 
It serves as a resource for the teacher who desires to enhance and expand the
teaching of art appreciation in the classroom.
Order No. 291
125 pgs. (2003) ISBN 1-890160-24-5
Price: $25.00; Members $20.00

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