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Janelle Washington, a former fashion designer, discovered her passion for paper cutting when she participated in a project show-and-tell at her office. She quickly became fascinated with the art form and joined the Guild of American Papercutters to learn more. Washington found inspiration in Black history and culture, incorporating themes of identity and feminine beauty into her intricate paper-cut designs. She now runs her own fine art paper-cutting business and has had her work featured in prestigious institutions and publications. Washington's art stands out in the paper-cutting community for its unique perspective and storytelling. [Extracted from the article]

This collection of working papers in art education is comprised of manuscripts by graduate students presented at the National Art Education Conference. Papers in this issue reflect several educational settings and geographic areas. The 22 articles include: (1) "Symbolic Meanings in the Ghanaian Arts: A Step Towards Developing Cultural Literacy" (Robert Ayiku); (2) "Artistic Scanning as a Classroom Qualitative Research Activity" (Steve Elliot); (3) "Cross Cultural Interpretation and Valuing of Northwest Coast Art by Natives and Non-Native Americans" (Nancy Parks); (4) "A Feminist Study of African American Art in New Orleans: Considerations of Aesthetics, Art History and Art Criticism" (Harriet Walker); (5) "A World Community of Old Trees: An Ecology Art Project on the World Wide Web" (June Julian); (6) "A Feminist-Based Studio Art Critique: A Classroom Study" (Anne Burkhart); (7) "Designing a Collaborative Arts Program: Implications for Preservice Art Education" (Jan Fedorenko); (8) "Text, Discourse, Deconstruction and an Exploration of Self: A Disruptive Model for Postmodern Art Education" (Jane Gooding-Brown); (9) "Preparing Preservice Teachers to Work with Diverse Student Populations: Implications for Visual Arts Teacher Education" (Wanda B. Knight); (10) "A New Case for Clay: Multi-Dimensional High School Ceramics" (Billie Sessions); (11) "A Meta-Critical Analysis of Ceramics Criticism for Art Education: Toward an Interpretative Methodology" (Booker Stephen Carpenter, II); (12) "Teaching Art as Reasoned Perception: Aesthetic Knowing in Theory and Practice" (Richard Siegesmund); (13) "The Feminization of Physical Culture: The Introduction of Dance into the American University Curriculum" (Janice Ross); (14) "Of Hosts and Guests: Curricular Discourses at a Southeast Asian Cultural Village" (Cameron Graham); (15) "Hanging Emily: Issues in Art, Text and Education" (Karen Knutson); (16) "The Creative Process and the Making of a Virtual Environment Work of Art" (Dena Eber); (17) "Spatial Treatment in Children's Drawings: Why Do Japanese Children Draw in Particular Ways?" (Masami Toku); (18) "Conversation as Pedagogy in the Teaching of Art" (Jane Zander); (19) "Sharing the Mountain; Tabasaran Weaving Culture" (Lorraine Ross, '96); (20) "Color Shards and Carpets: Context in Dagestan" (Lorraine Ross, '97); (21) "Anton and Jay's Sports Trading Card Series: Embracing the Presence of Letters" (Lisa Schoenfielder); and (22) "Teaching Art Via Culture: Fictive Travel as a Learning Tool" (Erin Tapley). (EH)

This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this volume the works are organized by the sponsoring university. Student papers presented are: (1) "How Will Moy, Chantale, Susan and Lola Make It through Art School?" (Miriam Cooley); (2) "The Development of a Conceptual Framework and Model for Uncovering Meaning in Contemporary Print Advertising in Secondary Schools" (Mary Ruth Smith); (3) "Students' Ways of Knowing Their Ways of Knowing: Examples from Art Education" (Deborah Smith- Shank); (4) "Harold Cohen's Artificial Intelligence Paradigm for Art Making: An Overview" (Mary Leigh Morbey); (5) "A Diagnostic Profile of Art Understandings Based on Verbal Responses to Works of Art" (Carol Stavropoulos); (6) "Artists in the Classroom: An Analysis of the Arts in Education Program of the National Endowment for the Arts" (Constance Bumgarner); (7) "Teachers' Art Assessment Practices: Relationship to Expertise, Experience, Beliefs and Confidence" (Christa Volk); (8) "Art and Teaching: Understanding through Narratives of Experience" (Patrick Fahey); (9) "The Relationship between High Drawing Ability and General Critical Thinking" (Edward O. Stewart); (10) "Queers, Art and Education" (Ed Check); and (11) "A Cultural Interpretation of the Symbolic Production of Self-Taught Artists" (Don Krug). (MM)

This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this volume the works are organized by sponsoring university. Student papers presented are: (1) "Interpreting Museums as Cultural Metaphors" (Michael Sikes); (2) "Key Theoretical, Philosophical, and Methodological Concepts Addressed in Two Major American Art Education Publications from 1948 through 1988" (Nanette M. Carli); (3) "Reform of Art Education in the Schools and Its Implications for Art Teacher Preparation Programs" (Linda Willis Fisher); (4) "Breaking the Mold with Humor: Images of Women in the Visual Media" (Sheri Klein); (5) "Orra White Hitchcock: A Virtuous Woman" (Theresa Marche); (6) "A New Look at an Old Barn: A Field Study of Twenty Appalachian Painters" (Lorrie Blaire); (7) "Gender and Genre: A Study of Children's War Drawing" (Robert Dalton); (8) "The Effect of Content Understanding and Pedagogical Experience on Art Teaching" (Elizabeth Kowalchuk); (9) "Aesthetic Attitude Theory as a Factor in Art and Art Education" (Timothy Hicks); (10) "Somatic Knowing and Art Education" (Jonathan Matthews); (11) "Philosophical Bases for Conceptions of Senior Secondary Level Student Evaluation in Art Education in Britain and North America" (Fiona Blaikie): (12) "The Shape of Life the Shape of Art, Context and Maya Women's Weaving" (Julia Kellman); and (13) "Disengagement in Art Education: Curriculum as Institutionalized Knowledge" (Marilyn L. Lapacinski). (MM)

This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this double volume the works are organized by sponsoring university. Student papers presented are: (1) "Looking, Talking, and Experiencing Art with Preschoolers" (Shari Stoddard); (2) "Feminist Art Criticism: Issues in Feminist Criticism Written about the Work of May Stevens" (Elizabeth Garber); (3) "In What Ways Can Objects of Utility Be Considered as Appropriate Study for Art Education? An Inquiry Grounded in British and American Contexts, 1832-1988" (Paul Sproll); (4) "Artist, Teacher, Scholar, Organizational Leader, Administrator, Collector: Art Educators' Beliefs about Roles and Status" (Thomas Ritenbaugh); (5)"The Influence of Structural Dimensions on Similarity /Dissimilarity Judgement when Categorizing Paintings: A Developmental Study Proposal" (John Hughley); (6) "Popular Culture, Art Making and the Case of G.I. Joe" (Patrick Fahey); (7) "Verna M. Wulfekammer and the University of Missouri: References in the History of Art Education" (Paula McNeil); (8) "Effects of Differential Instruction Upon the Creative Response of Deaf Students" (Carolyn Kampe); (9) "Toward Development of a Visual Arts Diagnostic Achievement Test: Issues and Concerns" (Robert Sabol); (10) "A Qualitative Exploration of Discipline-Based Art Education and the Ohio Partnership" (Jill Reiling Markey); (11) "Aesthetic Experience: Is It Viable in Contemporary Art Education?" (Anne Wolcott); (12) "Huipiles, Maya Womens' Weaving: A Dance with Time, a Salute to Peace, the Fabric of the Artist's Life" (Julia Kellman); (13) "An Assessment by Beginning Missouri Art Teachers of Their Beginning Teacher Assistance Programs" (Bonnie Black); (14) "A Presentation of the Methodology Used in an Exploratory Study for the Purpose of Generating Hypotheses Regarding the Relationships between an Individual's Daily Life and Aesthetics" (Catherine Ballard); and (11) "Kenneth Burke's Dramatist Pentad as an Alternative Approach to Art Criticism in the Classroom" (Gayle Weitz). (MM)

Papers from the conference include the following: "Activites orales et motivation dans l'etude du vocabulaire d'une langue etrangere (Oral Activities and Motivation in the Study of Vocabulary in a Foreign Language)" (M. Guisset); "Bridging High School and College Classes through the Multicultural Approach: The Case of Francophone Africa" (T. Mosadomi); "Foreign Language Education in the Middle School: A Special Education Teacher's View" (M. G. M. Finamore); "German Folk Dances: An Innovative Teaching Tool" (A. Wedekind); "How Can a Mess Be Fine? Polysemy and Reading in a Foreign Language" (H-W. Kang); "Interactive Pedagogy in a Literature Based Classroom" (V. Mayer); "Language Telecourses for Adults--Pros and Cons" (M. S. Pearlman); "Les Santons de Provence: Inspiration for an Interdisciplinary Project" (L. L. Lucietto); "More than a Required Skill in Today's Curriculum: Critical Thinking and Collaborative Learning in Foreign Languages" (C. E. Klein); "Music as a Means to Enhance Cultural Awareness and Literacy in the Foreign Language Classroom" (J. W. Failoni); "Near Immersion Results in One-Third of the Time" (J. Lang); "On Organizing a Learner-Centered Advanced Conversation Course" (D. Guenin-Lelle); "Opera and Art in the French Foreign Language Classroom" (L. Hekmatpanah); "Strategies for Producing a Video-Letter in the Foreign Language Classroom" (M. F. Dominguez); "The Language of Language: An Interdisciplinary Approach to Language Learning" (J. T. Mann); "Towards Teaching French Civilization in Context: A Technology-Aided Approach" (E. L. Corredor); and"Where Is the Text? Discourse Competence and the Foreign Language Textbook" (M. A. Kaplan, E. Knutson). (VWL)

This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this volume the works are organized by sponsoring university. Student papers presented are: (1) "A Naturalistic Study of Art Choices in a Preschool Setting" (Karen Thomas); (2) "Two Students View an Art Methods Course: A Case Study" (Tracy Wilson); (3) "A Comparative Analysis of Interpretive Strategies in Contemporary Art Theory and Its Implications to Discipline-Based Art Education" (Rosalie Politsky); (4) "Exhibitions of Children's Art: History, Ideology, and Economics" (Dianne Turner); (5) "An Endangered Species: Art Specialists in Elementary Schools" (Miri Fleming); (6) "The Practical Knowledge of a Fine Arts Supervisor in Educational Change: A Case Study" (Rita Irwin); (7) "The Influence of Instruction on Color/Form Classification Strategies and Longterm Memory: A Developmental Study" (Dennis Fehr); (8) "Traffic Jam: Curriculum as Dialogue, Recollection, and Reflection" (Patrick Fahey); (9) "Can We Speak Their Language? Toward an Understanding of Standardized Testing Techniques and Their Alternatives with an Examination of States' Approaches to Assessment of the Visual Art Student" (Sandra Finlayson); and (10) "The Transition from Modernism to Post-Modernism and Its Problematic Impact on Art Education Curriculum" (Ardeshir Kia). (MM)

Papers by graduate students, and occasionally papers from their mentors which establish a context for the student papers, are organized by sponsoring University. Student papers presented are: (1) "Cognitive Strategy in Design: The Measurement of its Effect On the Student Design Project" (Michael Eckersley); (2) "The Effects of Structured Criticism Upon the Perceptual Differentiation and Studio Compositional Skills Displayed by College Elementary Education Students" (Dora Janov); (3) "Development and Evaluation of an Art Program for Adolescents with Profound Emotional, Social, Intellectual, and Academic Dysfunction" (Linda Nolan); (4) "Artist of the Environment: Frederick Law Olmstead" (Virginia Fitzpatrick); (5) "An Historic Account of the Origin of the Thompson Art Collection in Peru, Indiana and its Educational Uses" (Paul Engle); (6) "The Ceramics of Failaka: A Question of the Function of Tradition in Artistic Creation" (Safwat Nourel-Din); (7) "Cross-Provincial Policies in Canadian Art Education" (Laurie Baxter); (8) "The Effects of Teacher Intervention and Peer Interaction on Fifth Grade Students' Studio Art Performances" (Karent Kakas); (9) "Transsubjectivity and the Imaginal Event" (Scott Meyer); (10) "A Questioning Strategy for Aesthetic Scanning" (Gloria Hewett); (11) "Discipline-Based Art Education for Preservice Elementary Teachers" (Sally Myers); (12) "Dealing With Distance/Attempts at Nearness" (Priscilla Fenton): (13) "Narrative Interpretation: Personal and Collective Storytelling" (Steve McGuire); (14) "A Description of Two Approaches to Instruction in a Survey Course in Art History" (Mercedes Thompson); (16) "On Defining Art as a Language: A Comparison on Languaging and Drawing Processes" (June Eyestone); and (17) "'Let's Draw'; Art Education by Radio" (Mary Kelly). (MM)

Papers by graduate students, and occasionally papers from their mentors which establish a context for the student papers, are organized by sponsoring University. Student papers presented are: (1) "Sequencing as a Student Strategy" (Elisabeth Hartung); (2) "The Role of the Horse as Subject Matter in Adolescent Girls' Artwork" (Alanna Stalker-Horner); (3) "Artistically Talented Students: A Call for Research" (Dale Boland); (4) "The Effect of Art Training Upon Drawing by Children in a Multi-Cultural Setting" (Alan Richards); (5) "A Naturalistic Study of Primary Aged Student's Visual and Verbal Responses to Selected Visual Stimuli" (Karen Thomas): (6) "The International Society for Education Through Art: A Brief Historical Overview" (Jane Rhoades); (7) "Teaching Art History to Children: A Philosophical Basis" (Jennifer Pazienza); (8) "Conversations and Postcards" (Joan Yochim); (9) "Linguistic Proficiency and its Application to Art Criticism and Art Appreciation" (Candace Jesse Stout); and (10) "A Culture in Conflict: Viewed Through the Art of Contemporary Wisconsin Indians" (Patricia Stuhr). (MM)

Papers by graduate students, and occasionally papers from their mentors which establish a context for the student papers, are organized by sponsoring University. Student papers presented are: (1) "A Husserlian Phenomenological Investigation of the Lived Experience of an Art Educator and Children" (Alan Wilson); (2) "Art in General Education, 1870-1900: The Introduction of Three-Dimensional Art Reproductions into the Public Schools of the United States" (James McNutt); (3) "Excellence in Education. Excellence in Art Education?" (Karen K. Thomas); (4) "Identifying Factors Related to Guidance Counselors' Attitudes Toward Visual Arts Programs" (Pam Gill); (5) "The Visual Artist in Prime Time Television" (Roy Pearson); (6) "Professionalization and Change in Art Education" (Mary Ellen Connelly); (7) "Reflective and Reflexive Approaches to Microcomputer Graphics: A Study Comparing Logo Turtle Graphics Programming and Paint Graphics Software in Teaching Art Concepts to Sixth Grade Students" (Kenneth Sakatani); (8) "Toward a Theory of Supervisory Practice for Discipline-Based Art Education" (Katherine Schwartz); (9) "Symbolic Interactionism as a Theoretical Perspective for the Study of Children's Artistic Development" (Pat Tarr); (10) "A Change of Vision: The Emergence of the Systems Paradigm" (Pat Perrin); (11) "Johannes Itten: Master Teacher and Pioneer of Holistic Learning" (Kathlenn Shukair); (12) "The Effect of Free and Exemplar Sorting Strategies on the Perception of Visual Structure Found in Non-Objective Paintings" (Anna Kindler); (13) "Reasons for Not Forgetting" (Steve McGuire); (14) "Review of Program Options for Gifted and Talented in the Visual Arts" (Mark Jones); (15) "Identifying Teachers' Concepts and Subsequent Practices of Art History" (Mark Moilanen); and (16) "Adolescents' Creative Productivity in the Arts" (Rochelle Robkin). (MM)

Papers by graduate students, and occasionally papers from their mentors which establish a context for the student papers, are organized by sponsoring University. Student papers presented are: (1) "The Relationship of Amount of Experience in Art to Visual Perception and Picture Memory" (Scott Wiley); (2) "In Pursuit of the Idea that the Child Art Process Can be Disclosed" (Nancy Lambert); (3) "Sex Role Stereotyping and Art Education" (Alana Stelker-Horner); (4) "Artistically Talented and Academically Gifted Junior High School Students: A Comparative Study of Their Backgrounds, Interests, and Ambitions" (Charles Gareri); (5) "Papermaking from Selected Malaysian Fibers: An Investigation of Its Artistic Potential through the Creation of Original Paper Artworks" (Chen Teng Beng); (6)"Yoruba Traditional Art: Symbolism and Interpretation" (Moses Fowowe); (7) "Textbooks for Art Education: Functions and Limitations" (James Lomis); (8) "Place and Imaginal Dwelling" (Scott Meyer); (9) "A Penetration of the Historical Theory of Poetic Tropes: A Phenomenological Investigation of the Iconic Historical Field: A Hermeneutic Study" (Bob Troxell); (10) "So, Why Sit Still?" (Steve McGuire); (11) "The Meaning of Art Environments for Art Students" (Joan Yochim); (12) "The Effectiveness of Studio-Based Art Humanities Curriculum" (Susan Atkins); (13) "Missouri Artist Jesse Howard: An Ethnographic Study" (Ann Klesener); (14) "Awareness of the Natural Landscape: A Three-Part Strategy Analyzing the Lives and Works of Landscape Painters for Educational Purposes" (Heather Anderson); (15)"Comparisons of Recognition Capabilities and Preferences for Representational, Abstract, and Non-Objective Paintings" (Kerry Freedman); and (16) "Teachers' Decision Factors in Judging and Planning Discussion Activities for Elementary Art Programs" (Connie Landis). (MM)