File - Sac State Art Education

Department of Art

California State University, Sacramento

ART 133: Elementary School Art Education (Sections 07/08)

Spring 2016, T/R, 12:00 - 1:50 PM

Professor: Amber Ward, PhD

Office: Kadema 193

E-mail: amber.ward@csus.edu

Phone: (916)-278-6137

Office hours:

Tues.: 10:30 AM - noon

Thurs.: 10:30 AM - noon

Course website: http://sacstatearted.weebly.com

SacCT: http://www.csus.edu/sacct/

Department website: http://www.al.csus.edu/art/

“Redefine the Possible”

Catalog Description: Intended for students who are preparing to become elementary school teachers in California, providing subject matter study in art appropriate for grades 1-6. Students will learn the components and strands of visual arts education found in the California Visual and

Performing Arts Framework. Students will explore five major areas: artistic perception, creative expression, historical and cultural contexts, aesthetic valuing, and the connections and relationships between the visual arts and other disciplines.

Prerequisite: Upper division status; declared major or minor in Art, or a declared major in Child

Development, or Liberal Studies, or Blended Liberal Studies

Lab Fee Required ($20.00): When a student registers for a class requiring a course fee, the charge will appear on her/his MySacState student account. If s/he drops the class by Census

Date ( 2/19/16 ), the fee will be reversed. Lab fees can be paid online, in person, or by mail. The student will not be dropped from a class due to non-payment of course fees; however, financial services will put holds on records after Census Date for any unpaid course fees. The hold will prevent the student from registering for future semesters and getting transcripts and diplomas.

When an overdue course fee is paid, the hold will automatically be removed from the student’s record. For questions about holds, go to the Admissions and Records Counter (first floor, Lassen

Hall).

Required Text:

Pink, D. (2006). A whole new mind: Why right-brainers will rule the future . New York, NY: The

Berkeley Group.

Students should also purchase the ART 133 course reader/pack at The Hornet Bookstore.

Recommended Text:

Walker, S. (2001). Teaching meaning in artmaking.

Worchester, MA: Davis.

Amber Ward, PhD

ART 133: Elementary School Art Education

California State University, Sacramento

1

Learning Objectives: During the 20 th

century, many educators assessed students’ ability to remember information—a lower order thinking skill. With help from Bloom’s (n.d.) new taxonomy, educators now recognize creating, evaluating, analyzing, applying, and understanding as better capturing students’ cognitive abilities. According to Friedman (2005) and Pink (2006), developing these higher order thinking skills is necessary for those interested in advancing education, citizenry, and globalization in the 21 st

century.

By the end of the course, the student will be able to . . .

1.

create an online, digital portfolio to hold visual and written text.

2.

create artworks that express thoughtful, well-crafted adaptations as well as concepts, media, and problem-solving techniques. (C1-A, B, C, E)

3.

understand course readings, and analyze new knowledge via concise research papers. (C1-A,

C, D)

4.

create and apply a lesson plan beside ART 133 peers with elementary learners in mind. (C1-

A, B, C, D, E)

5.

evaluate her/his class preparation and participation.



Jan. 25-Feb. 5:

Adding

Course Registration, Spring 2016

During the first two weeks of the semester, when students still are able to register for courses on-line through the Student Center on

MySacState, almost all Art courses only can be added by speaking directly to the instructor, who

Dropping



Jan. 25-Feb. 5:

S tudents can drop Art courses on-line via

MySacState, without seeking permission from the instructor, during this period.

 Feb. 8-

19: After being signed by the instructor and department chair, drop petition forms will be processed in the

Department office. No "W" grade will be recorded. If students withdraw from a course after Census Date, they will get a "W" will use a departmental form to add students on a space-available basis (Art courses will be closed to computer-registration whether or not they are full).



Feb. 8

-

19: A University petition form, signed by the instructor and the department chair, will be required to add any Spring semester course. These forms are available on the Registrar’s website

( http://www.csus.edu/registrar/forms/index.html

) and in the Art office, where they will be processed.



After Feb. 19: Census Date, is the last day to add any classes ( adds will be permitted after Feb.

19 only if students can show that University error prevented their timely registration ). on their academic record. Because there is a limit to the number of "W" grades any student can earn, it is better to drop a course by Feb. 19.



Feb. 20: Effective this date, drop petitions (signed by both the instructor and department chair) must have written documentation attached and will be processed at the

University Registrar's office in Lassen Hall (room 2000, second floor). The student is responsible for taking the signed form to the Registrar’s office.



March 7: Effective this date, drop petitions also must be approved by the College Dean and require more documentation of the serious reasons for withdrawing from the course. The student is responsible for taking the signed form to the Registrar’s office.



Apr. 22: No course withdrawals will be allowed after this date except in very special circumstances.

“Instructors have the right to administratively remove any student who, during the first two weeks of instruction, fails to attend any two class meetings (for courses that meet two or more times a week) , or one class meeting (for courses that meet once a week).” ( quoted from the Registrar’s website )

Amber Ward, PhD



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Academic Integrity: Academic honesty is central to the principles of a university. Any incident of academic dishonesty will be forwarded to the Office of Student Affairs, per university policy, for disciplinary action. Academic dishonesty may impact both the course grade and enrollment status. If a student has any questions regarding academic dishonesty, s/he should check with me and/or click here: http://catalog.csus.edu/14-16/first%20100%20pages/academicpolicies.html

All of the following are examples of plagiarism: (a) turning in another’s work as your own, (b) copying words or ideas from another without giving credit, (c) failing to put a direct quote in quotation marks, (d) giving incorrect information about the source of a quotation, and (e) changing words but copying the sentence structure of a source without giving credit. For more, see here: http://library.csus.edu/default2.asp%3FpageID=353.html

  

Personal Expectations:

1.

Submit professional written work—proofread for clarity, coherence/organization, unity, grammar, punctuation, and spelling.  

2.

Form an accountability partnership. This person is responsible for taking notes for you and collecting any materials if you are absent. However, you—not your partner—are responsible for turning in all required assignments by the day due.

Name: _________________________________________________

Phone number(s): _______________________________________

Email: _________________________________________________

3.

Cell phones should be turned off and out of sight during class, as they are distracting

( exception : cell phone usage is allowed and encouraged during studio time to be used as a reference and for photography). If there is an emergency, keep your phone on silent mode, and slip out of the room to answer if necessary.

4.

This is a 3 credit-hour “upper division status” course; there is a heavy reading and writing load. Make sure to provide enough time to read articles and book chapters and to complete all assignments thoughtfully and thoroughly. Comprehension of content with quality of thought should be evident in all course assignments and class participation.

5.

Please turn in assignments at the beginning of class on due dates. I will not consider late submission of any assignment without prior written notification and documentation. I will assess your request, and respond with a written reply. You will need to submit a copy of our written dialogue with the late assignment. It is likely that you will not receive the full grade value when turning in a late assignment.

6.

Back up all work frequently (i.e., use a flash/thumb drive or the “cloud,” email assignments to yourself, and/or use an external hard drive); computers are not always reliable.

7.

Participate with classmates, make a positive contribution to the group, engage others in insightful and informed questions/comments, and listen with attentive respect.

8.

Professionalism is essential in peer <-> peer and student <-> instructor interaction.

Maintaining high professional standards in class and at all field sites is critical for success in this course. The instructor reserves the right to deduct participation points from a student’s grade who does not act as a professional pre-service teacher. Students are expected to demonstrate a professional attitude and behavior at all times by being punctual, attending all class meetings, participating 100% in and contributing to class activities, accepting responsibility, and remaining academically honest.

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Academic Support: The University offers various avenues for academic support. For general information, go to the Peer and Academic Resources Center

( http://www.csus.edu/parc/index.html

). If your reading and writing skills need attention, please go to the University Reading and Writing Center ( http://www.csus.edu/writingcenter/ ). If you have a disability and require accommodations, you need to provide disability documentation to

SSWD, Lassen Hall 1008, (916) 278-6955. Please discuss your accommodation needs with me after class or during my office hours early in the semester.

Victim Support : Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses subject to the same kinds of accountability and the same kinds of support applied to offenses against other protected categories such as race, national origin, etc. If you or someone you know has been harassed or assaulted, you can find important resources here: http://www.csus.edu/titleix/

Learning Engagements:

1.

Digital Portfolio: Students will maintain a personal portfolio to hold written and studio assignments. Studio Investigations: Throughout the semester, students will participate in studio art activities in and out of class.

Students will collect these creative expressions and reflections, and connect them to future teaching. Works should express creative, thoughtful, well-crafted adaptations as well as concepts, media, and problem-solving techniques presented by the instructor and classmates.

2.

Unit Paper: Students will turn in a one-page double-spaced synthesis and adaptation paper of each Unit inclusive of one to two sources from article and book chapter readings.

Students should format the paper, citations, paraphrases, references (provided at end of syllabus), and so forth using APA 6 th

edition. Learn more at the Purdue OWL website

( https://owl.english.purdue.edu/owl/resource/560/01/ ).



Synthesis (~one paragraph): report an overview of the Big Idea and related 21 st

Century

Approaches by synthesizing information from at least two sources.



Adaptation (~one paragraph): discuss the ways in which you might adapt the content learned during this unit for use with a young population.

3.

Lesson Plan: Student groups will create one 100 minute Lesson Plan to present to ART 133 peers with elementary learners in mind. The instructor will design and blend these groups

(i.e., major or minor in Art, major in Child Development, major in Liberal Studies, and/or

Blended Liberal Studies) to simulate a team-teaching experience in a school or community setting. Students will be responsible for all components of the Lesson Plan to include:

 choosing one Big Idea to guide the lesson

 incorporating one or more 21 st Century Art Education Approaches (e.g., meaning making, visual culture, social justice, visual thinking strategies, holistic, choice-based, learner-directed, standards-based)

 assigning either one article or book chapter to complement the 21 st

Century Art

Education Approach (review reference lists from coruse readings) with opportunities for

“assessing” learning via creating, evaluating, analyzing, applying, and/or understanding

 designing “chunked” and varied educational activities, including a brief studio activity and demonstration, with diverse learners in mind

 integrating visual art, literacy, math, technology, and/or other disciplines

 managing time and transitions responsibly

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4.

Class Preparation and Participation: This course requires active learning, discussing, and making where each student’s full engagement is essential for success. Therefore, students are expected to complete all assigned readings and writing before each class period, and to come to class ready to participate fully, knowledgeably, and insightfully. Please bring the articles and book chapters with notes to class on Discussion days.



Attendance is not only valued but expected for every class period. There are not opportunities to “make-up” missed class lectures, group discussions, or in class assignments/studios. Unavoidable absences due to illness, family emergency, or

University-sanctioned activities should be communicated to the course instructor before class time ; two (2) such absences will be accepted. Additional absences will result in percentage point deductions from the student’s Preparation and Participation grade.

Think in terms of the professionalism that will be expected as an employed educator.



Come to each class on time and stay the entire duration. Our class will begin on time.

Three or more late arrivals/early departures will count as one absence.

5.

Memos: Students will submit four (4) instructor-assigned and six (6) peer-assigned Memos throughout the semester. The Memos should:

 include the student’s name and date on the top left corner.

 be handwritten (in legible ink)* or typed (double-spaced).

 be a half- to full-page in length.

 synthesize concepts and content learned from most recent readings, lectures, links, viewings etc.

* Illegible memos or those written in pencil will not be accepted.

Evaluation of Learning Engagements: Your course grade will be a result of careful evaluation of each assignment as well as intellectual, active, and creative engagement in class. Please make an appointment to discuss in person your academic standing and progress in the course , as I will not discuss grades or evaluation of your work before or after class (in our classroom) or over email.

Resubmissions: If I think there has been a misunderstanding about the assignment expectations,

I will talk with you about a possible resubmission, and will discuss with you expectations for the resubmission. With that in mind, it is crucial that you carefully read assignment handouts as well as take detailed notes in class when we discuss assignments. A resubmission does not ensure full-credit for the assignment.

Numerical Grade Equivalent:

A+ = 12 A = 11 A- = 10

B+ = 9

C+ = 6

B = 8

C = 5

B- = 7

C- = 4

D+ = 3

F = 0

D = 2 D- = 1

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Evaluation of

Learning Engagements

1. Digital Portfolio

(including studio investigations)

2. Unit Papers

| | | |

3. Lesson Plan

(written & presented)

4. Class Preparation & Participation

5. Memos (1% per submission)

Percentage of

Final Grade

25%

25%

25%

15%

10%

Points

Earned x .25 = x .25 = x .25 = x .15 x .10

=

=

Total

Points =

Final Letter

Grade =

Unit 1: Identity

21 st Century Art Education Approaches: Meaning Making & Big Ideas

Week 1

1/26 - T



Introductions and nametags



Syllabus



Course Calendar





21 st Century Art Ed Approaches

Unit Big Ideas



Unit Organization



Calendar due dates in red text, including Family

Funday Sunday on 4/17 from 11AM-3PM



Skimming effectively and critically: Franco, Ward, & Unrath article: Artmaking as Meaning-Making (pp. 28-33)



Introduce Memos



Automatic drawing

HW due for this class



Access course website (see link at top of p. 1). Preview course pages, and study information in each page under

Sac State Resources



Bring a copy of the following to class:



Franco, Ward, & Unrath article



Syllabus

1/28 - R

Bridge Activity: creating artist and community identity using social media



Small group discussion



Photography using shared class iPad

 iPad Password: 0193

 iPad email address: kademahall193@gmail.com



Instagram email: kademahall193@gmail.com



Instagram user name: SacState_ArtEd



Present student curators for Instagram



Instagram hashtags: #SacStateArt #SacStateArtEd #ART133



Introduce Unit Papers



Introduce Digital Portfolio



Set-up free Weebly website (aka Digital Portfolio)




Read Walker book:



Introduction (pp. xii-xv)



Big Ideas and Artmaking

(Ch. 1, pp. 1-17)



Optional: Create Instagram profile



Bring to class:



Laptop



Smartphone



Automatic drawing from

9/1



Preview Unit Papers and

Digital Portfolio page details on course website



Memo 1

Amber Ward, PhD



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VTS & Studio

2/2 - T



Collect and bring in recycled cereal boxes throughout semester



Inspiration Artist: Cindy Sherman



Studio Investigation: Identity Constructions

Week 2




Read Parsons chapter in edited book: Art and Integrated

Curriculum (Ch. 34, pp. 775-

794)



Finish website set-up; email published URL to instructor at: amber.ward@csus.edu




Unit Paper 1

2/4 - R

Discussion



Establish Discussion class norms



Meditation



Mindful reading of Walker (pp. 1-3) inspired by Robert Boice



Discussion of Walker (pp. 1-3): “Finding Illustrative

Quotations” (see Frederick)



Revise Unit Paper with new understandings

Unit 2: Conservation & Ecology

21 st Century Art Education Approaches: Visual Culture & Social Justice

Week 3

2/9 - T

Studio



Inspiration Artist: Federico Winer



Studio Investigation: Exploring Earth




Preview PPT



Print image for studio



Read Hurwitz & Day book:

Visual Culture in Art

Education (Ch. 15, pp. 281-

295)

Bridge Activity: applying ecology

visual literacy to explore conservation &




2/11 - R

2/16 - T

VTS & Studio



Inspiration Artists: Mark Dion, Song Dong



Studio Investigation: Material Means

Week 4




Read Gude article: Postmodern

Principles: In Search of a 21 st

Century Art Education



Memo 2




Read Barrett article:



Interpreting Visual Culture

Bring in found object for studio




Unit Paper 2

2/18 - R

Discussion

 “Generating Questions” (see Frederick)




Amber Ward, PhD



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Unit 3: Vulnerability

21 st Century Art Education Approach: Visual Thinking Strategies & Holistic

Week 5

2/23 - T

Studio



Inspiration Artist: Janine Antoni



Studio Investigation: Empathy Braid

Bridge Activity: evaluating mind/body/spirit




2/25 - R vulnerability by engaging the






Read Pink book:



9, pp. 216-231)

Memo 3

Introducing the Six Senses

(pp. 65-67)



Story (Ch. 5, pp. 100-115)



Bring meaningful fabric samples, charms, found objects




Read Pink book: Meaning (Ch.

Week 6

3/1 - T

VTS & Studio



Inspiration Artist: Collier Schorr



Studio Investigation: Graphic Editorials

3/3 - R

Discussion

Meet at the Department of Special Collections and University

Achieves (at usual start time)—located at southwest corner of library complex http://library.csus.edu/default2.asp%3FpageID=553.html




Read Eldridge chapter in edited book: The Ethic of

Caring Holistically for Art

Students: Esmeralda’s

Boutique (Ch. 32, pp. 287-296)




Read Housen & Yenawine

 article: Visual Thinking

Strategies: Understanding the

Basics (pp. 1-10)

Unit Paper 3

Unit 4: Play

21 st Century Art Education Approaches: Choice-Based & Learner-Directed

Week 7

3/8 - T HW due for this class



Read Freyermuth article in Studio



Inspiration Artist: Nick Cave



Studio Investigation: Finger Puppets edited book: One Art

Teacher’s Search for a Holistic

Approach (Ch. 27, pp. 266-

269)



Read Douglas & Jaquith book:



Practice-Based Theory

(Part I, p. 7)



Defining Teaching for

Artistic Behavior: The

Four Practices (Ch. 1, pp.

9-16 & images)



Recommended, especially for

ARTE concentration:

NAEA/CAEA membership

($25 for students), link HERE

Amber Ward, PhD



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Bridge Activity: analyzing elementary art room




3/10 - R

play, choice, and materiality in the




Read Klein article: Comic

Liberation: The Feminist Face of Humor in Contemporary Art

(pp. 47-52)



Read Klein chapter in edited book: Humor and

Contemporary Product Design

(pp. 201-211)



Memo 4

Week 8

VTS & Studio





3/15 - T

Inspiration Artist: Ellen Gallagher



Studio Investigation: Multimodal Messages

3/17 - R

Discussion (Instructor away at NAEA Conference):



Visit from Sac State Multi-Cultural Center

Discussion on BB




Read Pink book: Play (Ch. 8, pp. 185-205)



Website check-point




Read Szekely chapter in edited book: Testing the World through Play and Art (Ch. 7, pp. 64-76)



Unit Paper 4 (turn in next class)

Unit 5: Structures & Systems

21 st Century Art Education Approach: Standards-Based

Week 9




Read Eisner article: 10 Studio



Inspiration Artist: Julie Mehretu



Studio Investigation: “Chance Operations” (see John Cage)

Bridge Activity: evaluating state and national visual art standards as structures & systems



Announce groups (six groups of 4 students); discuss group responsibilities, including group facilitators



Introduce Lesson Plan guidelines

 Discuss “content area”



Lessons the Art Teach (p. 1)

Read Pink: Symphony (Ch. 6, pp. 129-145)

Read and becoming familiar with the following websites:



Common Core State Standards

– ELA (p. 7 only), link

HERE



National Core Art Standards –

Visual Arts (grades 1-6 only), link HERE



California Visual and

Performing Arts Standards

(grades 1-6 only), link HERE



OEHHA, link HERE

3/31 - R

NO CLASS NO CLASS

Amber Ward, PhD



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Week 10

4/5 - T

VTS & Studio



Inspiration Artist: Fred Wilson



Studio Investigation: Co-Curated Found Images

4/7 - R

Discussion

 “Generating Truth Statements” (see Frederick)









Read Dorn book: Introduction:

Philosophy, Art and Education

(pp. 1-9)



Skim Walker book:



Designing Studio

Instruction (Ch. 6, pp. 95-

113)



Ways of Working (Ch. 7, pp. 115-138)



Appendix (pp. 139-154)



Bring in printed image from

Smithsonian Museum




Unit Paper 5

Week 11:

GROUP LESSON PLAN DEVELOPMENT


Preparation for Family Funday Sunday

4/14 - R



Meet at University Library (LIB 2024) for article search tutorial with Dr. “Joe” Zhou (noon-1:00 PM)



Independent Group Work Time




Group Time

 Generate “materials list,” and email to instructor by 8 PM

4/17 – Sunday from 11AM – 3PM

Festival of the Arts: Family Funday Sunday

Week 12

4/19 - T



Group Time: meet in Kadema 170 or elsewhere



Group 1: 12:00-12:15 PM



Group 2: 12:15-12:30 PM





Group 3: 12:30-12:45 PM

Group 4: 12:45-1:00 PM



Group 5: 1:00-1:15 PM



Group 6: 1:15-1:30 PM



Open: 1:30-1:50 PM




Group Time



Group facilitators: please submit

 final Group Lesson Plan to

 instructor via email by 8

PM on Sunday assigned reading to instructor via email by 8

PM on Friday

Group 1

4/21 - R HW due for this class



TBD by Group 1



Memo 5

Week 13

4/26 - T

Group 2




TBD by Group 2



Memo 6

Amber Ward, PhD



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Group 3

4/28 - R HW due for this class



TBD by Group 3



Memo 7

Week 14

Group 4

Group 5

5/3 - T

5/5 - R




TBD by Group 4



Memo 8






TBD by Group 5

Memo 9

Week 15

Group 6

5/10 - T

5/12 - R



Submit Class Preparation & Participation evaluation



Submit Digital Portfolio rubric from midterm



Instructor/Course Evaluations



Peer evaluation of Digital Portfolio



Work time on Digital Portfolio (due by 8 PM on Friday)




TBD by Group 6



Memo 10




Bring laptop to class for website peer assessment



Digital Portfolio should be upto-date



Complete Class Preparation &

Participation evaluation



Digital Portfolio rubric from midterm or print new

Week 16:

FINALS WEEK

5/17 - T

12:45-2:45 PM course final (sections 34062/3)



Potluck





Return graded Class Preparation & Participation evaluation

Return graded Digital Portfolio rubric

Some studios may require printing. See Student Tech Center for printing privileges: http://www.csus.edu/irt/STC/index.html

“The Student Tech Center helps students use technology required to complete course assignments. The STC provides technology-infused group collaborative tables, each of which can seat up to 8 students. Posters can be printed for free. The STC is open Mon-Thu from 10 am to 7 pm and Friday from 10 am to 3pm. Nooner workshops are held at 12 noon, Mon – Fri and Happy Hour workshops are held at 5:30, Mon – Thu. We are located in AIRC 3007. Go to www.csus.edu/stc to learn about all the services provided for students. You need the STC!”

References

*

Berger, J. (1972). Ways of seeing . London, England: Penguin Books.

Barrett, T. (2003). Interpreting visual culture. Art Education, 56 (2), 6-12.

Amber Ward, PhD



11

Dorn, C. M. (1994). Thinking in art: A philosophical approach to art education. Reston, VA:

National Art Education Association.

Douglas, K. M., & Jaquith, D. B. (2009).

Engaging learners though artmaking: Choice-based art education in the classroom. New York, NY: Teachers College Press.

Eisner, E. (2002). The arts and the creation of mind . New Haven, CT: Yale University Press.

Eldridge, L. A. (2012). The ethic of caring holistically for art students: Esmeralda’s boutique. In

L. H. Campbell & S. Simmons III (Eds.), The heart of education: Holistic approaches

(pp. 287-296). Reston, VA: National Art Education Association.

Franco, M. J., Ward, A., & Unrath, K. (2015). Artmaking as meaning-making: A new model for preservice elementary generalists. Art Education, 68 (5), 28-33.

Freyermuth, V. K. (2012). One art teacher’s search for a holistic approach. In L. H. Campbell &

S. Simmons III (Eds.), The heart of education: Holistic approaches (pp. 266-269).

Reston, VA: National Art Education Association.

Gude, O. (2004). Postmodern principles: In search of a 21 st

century art education. Art Education,

57 (1), 6-14.

Housen, A., & Yenawine, P. (n.d.). Visual thinking strategies: Understanding the basics.

Retrieved from http://www.vtshome.org/research/articles-other-readings

Hurwitz, A., & Day, M. (2007). Children and their art: Methods for the elementary school, (8 th ed.). Thompson Wadsworth.

Klein, S. (2008). Comic liberation: The feminist face of humor in contemporary art. Art

Education, 61 (2), 47-52.

Klein, S. (2014). Humor and contemporary product design. In D. Chairo & R. Baccolini (Eds.),

Gender and humor: International and interdisciplinary perspectives (pp. 201-211). New

York, NY: Routledge.

Parsons, M. (2004). Art and integrated curriculum. In E. W. Eisner & M. D. Day (Eds.),

Handbook of research and policy in art education (pp. 775-794). Mahwah, NJ: Lawrence

Erlbaum Associates.

Pink, D. (2006). A whole new mind: Why right-brainers will rule the future . New York, NY: The

Berkeley Group.

Szekely, G. (2011). Testing the world through play and art. In D. B. Jaquith & N. E. Hathaway

(Eds.), The learner directed classroom: Developing creative thinking skills through art

(pp. 64-76). New York, NY: Teachers College Press.

Amber Ward, PhD



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Walker, S. (2001). Teaching meaning in artmaking.

Worchester, MA: Davis.

Ward, A. E. (2011). Fantasy Facebook: An exploration of students’ cultural sources. Art

Education, 63 (4), 47-53.

* for Art 133 Course Calendar

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