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MEDIA REVIEWS
A big “thank-you” to all of you who have read, supported, and written for the “Media Reviews” column in NAEA News— and welcome to all who are joining us now in our online format.
Here you will find reviews by your colleagues of a variety of the latest books and videos of interest to art educators—resources for your personal or professional library and reference materials that support your classroom teaching and planning strategies for student learning and assessment; that offer instruction in practical art methods, skills, and techniques for various media; that showcase new digital technologies and their application to art education; that stimulate academic research and collaboration; that highlight new artists or look at art history in new ways; and that inform and connect you to new programs and initiatives in art education in multiple settings, including museums and community arts centers.
Note: With few exceptions, books reviewed here are not available for ordering through NAEA, but are often found on Amazon.com or the publisher’s website.
Posted March 2nd, 2010
♦ A Visual Guide to Classical Art Theory for Drawing and Painting Students
Eric Mantle. Parkhurst Brothers, Inc., 2009.
This is a collection of schematic illustrations based on the author’s 34 years of art teaching. Most of the images are digitally produced and are meant to clarify for students some of the main principles of linear perspective, color relationships, tonal modeling, and atmospheric perspective. Text is limited to a few brief descriptions for each set of illustrations.
The book’s section on color is particularly effective, with vivid representations of Munsell’s color solid and clear examples of various color interactions. The digital illustrations about atmospheric perspective are also well structured.
Some may find this book’s title misleading, however, because there is no treatment of “art theory” per se regarding the conceptual framework for the production and interpretation of art in historical contexts (“classical” or otherwise). There are also no examples from the history of art to demonstrate how the principles of perspective, color, etc. may be applied in actual works of art. Although there is a brief topic index and glossary, there are no footnotes, bibliography, or any other form of source documentation. Ostwald and Munsell are briefly mentioned (as “worth being aware of”) but there is no acknowledgment of Albers or any other important theorists from any period from whom many of the concepts in the book derive.
This book could serve as a useful reference tool to keep in the art classroom. As helpful as the book’s images are, however, they do not provide comprehensive introductions to the topics. Given the digital nature of most of the illustrations and the increasing use by teachers of digital rather than print resources, perhaps this book could be more useful in a digital format to be used as an accompaniment to other, more thoroughgoing printed texts on drawing, design or color.
Reviewed by David J. Holt, Upper Canada College, Toronto, Canada.
♦ Engaging Learners Through Artmaking: Choice-Based Art Education in the Classroom
Katherine M. Douglas and Diane B. Jaquith. New York: Teachers College Press, 2009.
This book is an introduction to the art education philosophy of teaching for artistic behavior by providing students with a learning environment full of choice. Douglas and Jaquith pioneered this practice in their own elementary art classrooms and share it with others through the educational organization they founded, Teaching for Artistic Behavior, Inc.
The book begins with a discussion of why the authors believe that teaching in a choice-based manner is important, and how it supports the development of authentic artistic behaviors in students. Part one of the book includes chapters that address setting up a choice-based classroom environment, how to structure actual class time, strategies for assessment of choice-based art, and suggestions for developing ideas for student artmaking and motivation. Part two of the book focuses on in-depth descriptions of the studio centers the authors suggest for a choice-based classroom. Information about media, resources, and instructional methods are included for each media center.
The appendices support the book well. Appendix one offers information on aligning choice-based instruction with visual art standards. Appendix two addresses how choice-based educators can create lesson plans that reflect the standards and the content covered via this instructional method.
Throughout the book the authors reinforce their belief that offering students choice will eliminate the “school-style art” that is often the result of traditional, teacher-based classroom art assignments. They end with the following challenge. “If we wish for our students to do the work of artists, we must offer them the opportunity to behave as artists, think as artists, and perform as artists. If not in art classrooms, then where?”
This book offers an interesting pedagogical option for art teachers. The choice-based model appears more developmentally appropriate for elementary students, but it may not provide the technical instruction and opportunity for skill development needed for secondary art students. That being said, as an educator who has taught the spectrum of K-12, I would be quite tempted to adopt this practice in an elementary classroom. Developing a repertoire of strong artistic behaviors in young students would certainly evidence many benefits as they progressed to the secondary levels.
Reviewed by Amy J. Brehm, Wisconsin Art Education Association Secondary Division Representative, Westfield Area High School, Westfield, Wisconsin.
♦ History Beyond the Text
S. Barber & C. Peniston-Bird (Eds.). London and New York: Routledge, 2009.
I read books by the British-based Routledge Publishers with the understanding that cultural issues and research are not always equally perceived or represented within American and British academia. However, the necessity to identify and illustrate less traditional primary sources within history, as is the purpose of this book, has resulted in a transcultural research resource that should be welcomed into all Art Education Graduate programs.
History Beyond the Text presents an extensive examination of sources that challenge “the well-worn notions of empirical evidence, the primacy of the document, and the reification of the prose” (p. 1). To do so, the editors collected a variety of overlaying historical perspectives in fine art, photography, material culture, cartoons, architecture, music, and landscape for the purpose of exploring theoretical and practical applications of using them as primary sources.
The editors begin by looking at how the term “document” limited the use of historical evidence based on the notion of subjectivity and intersubjectivity, truth, and authenticity within each non-traditional source. Each chapter, written by experienced researchers, continues the discussion regarding why and how to address the implications of unique sources through their identification of suitable methodologies. Case histories are also offered to illuminate best practices in analysis and interpretation by providing contextual functionality. As a result, this book is recommended for those who want to explore a wide variety of non-traditional sources.
Reviewed by Victoria Weaver, Assistant Professor, Art Department, Millersville University, Millersville, Pennsylvania.
♦ Teaching Children to Draw, (2nd edition)
Marjorie Wilson and Brent Wilson. Worcester, MA: Davis Publications, Inc., 2009.
The newest edition of Teaching Children to Draw provides thought-provoking insights regarding children’s drawings by examining contemporary influences and addresses the various cultural, narrative, and playful foundations to which children respond and draw. It is easy to read, and the narrative style of writing helps to connect a broad variety of children’s drawing experiences found in global cultures, integrate historical references with 21st-century technology, and guide the reader through the various methods through which children’s drawings can be interpreted.
Chapters are designed to address a variety of topics including, but not limited to, developmental steps (not stages), innate drawing principles, graphic vocabularies and dialogues, and individual innovation and invention. Each chapter’s content is organized to reach a broad audience through its deliciously rich layering of images, children’s dialogues, guided interpretations, and scholarship.
For example, the introduction of three unique learning interactive sites is extremely helpful in understanding the motives through which children draw and interact. The first describes when children initiate drawing for their own self. The second examines traditional learning environments such as art classes where adults assign children to draw. The third presents the practice when both child and adult share the experience of drawing. Each site description is accompanied by real life children’s drawings and stories. In addition, thought provoking questions, peppered throughout the text, support extended exploration of key concepts of development, motives, influences, and creativity within each of the three pedagogical sites.
This text should be required reading for everyone. The identification and integration of past research to contemporary usage is not only helpful to art educators and preservice students, but to anyone who is interested in children’s drawings. To me, this is a welcome resource to understanding the development of children in the visual arts and one that I am using in my own teaching.
Reviewed by Victoria Weaver, Assistant Professor and Program Coordinator of Art Education, Millersville University, Millersville, Pennsylvania.
♦ The Rest Is Up To You: A Collaboration Between 118 Artists and A Boy Named Cohen Morano
Cohen Morano with Aye Jay Morano. San Francisco, CA: Chronicle Books, 2009
It takes a village to raise a child, but a child can inspire a village. This book uses the works of a young boy, Cohen, to explore the possibilities of collaboration with 118 various artists contacted by his father, Aye Jay.
Aye Jay first started collecting and dispersing young Cohen’s artwork when his son was only 2 years old. The project started out slowly and on a whim; approaching artists at expos in person expanded into contacting artists through the Internet and mailing Cohen’s artwork for collaboration. The artists come from across the world with multiple mediums and backgrounds. Painters, tattoo artists and graffiti artists are included among well known artists Paul Frank and Gary Baseman. The collaborators took Cohen’s simple watercolors and created something unique in each piece. These artists gave each piece the same level of respect that they would their own individual artworks.
Beneath various collaborated pieces, young Cohen remarks on the completed artwork, explaining what he sees in the new image. “It’s a worm coming out of the ground. Every worm comes out of the ground once in a while. I don’t know why, though. Maybe to go poo? That makes good soil.” His prospective is always refreshing and creative, bringing a smile to the reader’s lips!
I was very impressed, especially with Aye Jay’s passion and dedication to pursue this project on behalf of his son. Young Cohen’s art portfolio is larger than most of us could image for such a young age––he is now 8 years old. Cohen and his father are an inspiration for parents, instructors and artists alike to encourage children, young and old, to create!
Reviewed by Jessica Noel, K-2 Art Educator, Danville, Kentucky Public Schools.
♦ The Story in the Picture
Christine Mulcahey. Foreword by Maxine Greene. New York City and Reston, VA: Teachers College Press and National Art Education Association, 2009. (*Available for orders through NAEA. Member price $18.00.)
If you have been teaching art to young children and find yourself cringing at the remarks you hear adults make to children about their artwork, this book is for you and those around you. If you teach preservice students of art education, this book is an excellent choice to help prepare those students.
Analyzing both children at work and adults' comments that influence the work for better or worse, the author suggests “best responses.” These are based on the elements of design, and descriptions of lines, shapes, textures and brushstrokes. She engages the children in conversations, not only about their own art, but also about fine art prints prevalent in her classroom. In fact, she uses those as springboards to all art-related talk among her students.
Mulcahey tells us what is too open-ended, and what is too closed in devising art lessons. She discusses the impact of coloring books and tracing on children's imagery. And, she lists the qualities of a rich art activity.
Besides the usual early childhood themes of people, families, animals, and plants, the author covers the manufactured world because children are exposed daily to cars, computers, video-games, homes, eating utensils, and other devices. She creates an atmosphere in which children feel comfortable enough to express their own ideas and make their own creative leaps without disparagement. No answers are wrong.
The methods Christine uses with the children are cleverly shared with the parents so that communication to and from the home takes place regularly. The Appendices list themes and art prints appropriate for young children, art websites, and letters to parents to help engage families.
This solution oriented text gathers many thoughts that trouble art educators. Be sure to read it.
Reviewed by Marie L. Meegan, Coordinator, Masters of Teaching Art, Salem State College, Salem, Massachusetts.
BOOKS AVAILABLE FOR REVIEW
Thanks to the generosity of major publishers with interests in art education who send us their review copies of upcoming books, NAEA currently has on hand the following books and/or videos for review.
Line: 7 Elements of Art
Jane Castillo. Glenview, IL: Crystal Productions, 2008. Full-color throughout, paperback.
This is the first in a new series of art education books for young people, featuring a blend of contemporary hot artists and photographers. Other books in the series will address shape, color, space, texture, value, and form.
Vision and Values in Design Management
David Hands. AVA Academia, 2009. Oversized trade paperback, with color illustrations and graphics.
A huge textbook/reference book for design professionals and upper level students. The author has published over 60 books and articles on design management topics. This is well illustrated with case studies in contemporary issues.
Learning Mind: Experience Into Art
Mary Jane Jacob and Jacquelynn Baas, Editors. School of the Art Institute of Chicago, University of California Press, 2009. Full-color hardcover textbook.
A useful textbook for college classes, this addresses and documents the changing practices in the making, teaching, and exhibition of art, and includes conversations with influential artists and educators of our time.
Experimental Drawing
Robert Kaupelis. New York: Watson-Guptill, 2010. Oversized trade paperback, b&w illustrations.
This 30th anniversary edition provides projects for beginning and serious artist to foster creativity and discover their own methods. Over 200 illustrations of drawings by old and modern masters, and detailed lessons using pencil, graphite sticks, charcoal, ink, and paint. The author taught drawing at New York University for 25 years.
Oils: A New Way to Learn How to Paint and Watercolors: A New Way to Learn How to Paint
Hauppauge, NY: Barron’s, 2009. Hardcover, full-color illustrations throughout.
These books in Barron’s “Easel” series are designed for beginners who want to try painting but don’t know how to get started. Each book props up like a miniature easel, with images and outlines of lessons and steps to follow. Beautifully illustrated, easy to read and understand. Possible help for middle school students/teachers.
If you see a book or DVD listed here you’d like to review, e-mail us at bookreview@arteducators.org with your name, title, school affiliation, and your postal mailing address.
We regret that due to the volume of requests for books, we cannot reply to all of you. We will notify by e-mail only those selected as reviewers. Reviews should be 300 words or less, submitted in a Word file, using the format that appears above.
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Bob Reeker
Bob Reeker is a twenty-year veteran of education, teaching 18 years and working as a building administrator for two years. The past six years of his career have been spent at Eastridge Elementary School in Lincoln, Nebraska teaching students, K-5 in the areas of Visual Art and Integrated Technology. Bob is currently the NAEA Elementary Division Director and will end his directorship in 2011.