Contemporary Art and Multicultural Education is the first book of its kind to address the role of art within today's multicultural education. Co-published with The New Museum of Contemporary Art , this beautifully illustrated book is a practical resources for art educators and students. Co-published with the New Museum of Contemporary Art.

For over a decade, Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully-illustrated collaboration of over one hundred artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history. Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original to present new possibilities and modes of understanding art, culture, and their relationships to students and ourselves. The fully revised second edition provides new theoretical and practical resources for educators and students everywhere, including: Educators' perspectives on contemporary art, multicultural education, and teaching in today’s classroom Full-color reproductions and writings on over 50 contemporary artists and their works, plus an additional 150 black-and-white images throughout Lesson plans for using art to explore topical issues such as activism and democracy, conflict: local and global, and history and historicism A companion website offering over 250 color reproductions of artwork from the book, a glossary of terms, and links to the New Museum and G: Class websites---www.routledge.com/textbooks/9780415960854.

Contemporary art and multicultural education is the first book of its kind to address the role of art within today's multicultural education. Co-published with the New Museum of Contemporary Art, this beautifully illustrated book provides both theoretical foundations and practical resources for art educators and students, combining exquisite color reproductions, statements from contemporary artists and interviews with notable educators. Absent from multicultural art education is an approach which connects everyday experience, social critique and creative expression with classroom learning; for students from widely-varied backgrounds and differing levels of English comprehension, art becomes a vital means of reflecting upon the nature of society and social existence. To this end, this volume features both works of art and artists' personal statements in English and Spanish with lesson plans which explore topics that connect what students learn in school to what life experiences might reveal.

A teacher’s ability to manage the classroom strongly influences the quality of teaching and learning that can be accomplished. Among the most pressing concerns for inexperienced teachers is classroom management, a concern of equal importance to the general public in light of behavior problems and breakdowns in discipline that grab newspaper headlines. But classroom management is not just about problems and what to do when things go wrong and chaos erupts. It’s about how to run a classroom so as to elicit the best from even the most courteous group of students. An array of skills is needed to produce such a learning environment. The SAGE Encyclopedia of Classroom Management raises issues and introduces evidence-based, real-world strategies for creating and maintaining well-managed classrooms where learning thrives. Students studying to become teachers will need to develop their own classroom management strategies consistent with their own philosophies of teaching and learning. It is hoped that this work will help open their eyes to the range of issues and the array of skills they might integrate into their unique teaching styles. Key Features: 325 signed entries organized in A-to-Z fashion across two volumes Reader's Guide grouping related entries thematically References/Further Readings and Cross-References sections Chronology in the back matter Resource Guide in the appendix This encyclopedia is an excellent scholarly source for students who are pursuing a degree or position in the field of education. The SAGE Encyclopedia of Classroom Management is an ideal source for all academic and public libraries.

In 1970, Judy Chicago and fifteen students founded the groundbreaking Feminist Art Program (FAP) at Fresno State. Drawing upon the consciousness-raising techniques of the women's liberation movement, they created shocking new art forms depicting female experiences. Collaborative work and performance art – including the famous "Cunt Cheerleaders" – were program hallmarks. Moving to Los Angeles, the FAP produced the first major feminist art installation, Womanhouse (1972). Augmented by thirty-seven illustrations and color plates, this interdisciplinary collection of essays by artists and scholars, many of whom were eye witnesses to landmark events, relates how feminists produced vibrant bodies of art in Fresno and other locales where similar collaborations flourished. Articles on topics such as African American artists in New York and Los Angeles, San Francisco’s Las Mujeres Muralistas and Asian American Women Artists Association, and exhibitions in Taiwan and Italy showcase the artistic trajectories that destabilized traditional theories and practices and reshaped the art world. An engaging editor’s introduction explains how feminist art emerged within the powerful women’s movement that transformed America. Entering the Picture is an exciting collection about the provocative contributions of feminists to American art.

In the last decade of the twentieth century, the «safe sex» message - advocating the use of condoms to prevent pregnancy and curb the spread of AIDS and other sexually transmitted diseases - has endured relentless attacks by conservative religious groups who seek to instill doubt and promote an abstinence-only theme in American public schools. The essays in this book provide a stimulating historical and cultural inquiry into the multiplicity of meanings attributed to one prophylactic: the condom. Given the vast array of sexual attitudes toward condom usage within American culture and around the world, Culture and the Condom will provoke readers into examining significant dominant discourses and alternative perspectives by viewing condoms through the lens of cinematic and television imagery, artistic representations, statistical analyses, commercial advertising, and animation.

The 1980s was a critical decade in shaping today’s art production. While newly visible work concerned with power and identity hinted at a shift toward multiculturalism, the ‘80s were also a time of social conservatism that resulted in substantial changes in arts funding. In Asking the Audience, Adair Rounthwaite uses this context to analyze the rising popularity of audience participation in American art during this important decade. Rounthwaite explores two seminal and interrelated art projects sponsored by the Dia Art Foundation in New York: Group Material’s Democracy and Martha Rosler’s If You Lived Here…. These projects married issues of social activism—such as homelessness and the AIDS crisis—with various forms of public participation, setting the precedent for the high-profile participatory practices currently dominating global contemporary art. Rounthwaite draws on diverse archival images, audio recordings, and more than thirty new interviews to analyze the live affective dynamics to which the projects gave rise. Seeking to foreground the audience experience in understanding the social context of participatory art, she argues that affect is key to the audience’s ability to exercise agency within the participatory artwork. From artists and audiences to institutions, funders, and critics, Asking the Audience traces the networks that participatory art creates between various agents, demonstrating how, since the 1980s, leftist political engagement has become a cornerstone of the institutionalized consumption of contemporary art.

Through excerpts and profiles, this inspiring book presents the experiences of twelve African American artists who teach at traditionally White colleges and universities.

A close-up history of the Yugoslav artists who broke down the boundaries between public and private In the decades leading up to the dissolution of socialist Yugoslavia, a collective of young artists based in Zagreb took to using the city’s public spaces as a platform for radical individual expression. This Is Not My World presents a detailed account of the Group of Six Authors and their circle in the prolific and experimental period from 1975 to 1985, highlighting the friction between public and private that underlied their innovative practices. Looking to circumvent the rigid bureaucracy of official art institutions, this freewheeling group of conceptual artists and their peers brought artistic activities directly to an unwitting public by staging provocative performances, exhibiting artworks, and interacting with passersby on the streets. Exploring artworks such as Vlasta Delimar’s act of tying herself to a tree in a busy pedestrian area, Željko Jerman’s production of a giant banner declaring “Intimate Inscription” in the city’s central square, and Vlado Martek’s creation of an artwork on a seaside beach using women’s underwear, Adair Rounthwaite examines the work of these artists as a site of tension between the intimacy of artistic expression and the political structure of the public sphere under state socialism. Whereas many histories of modern and contemporary art in formerly socialist countries tend to be dominated by discussions of ideology and resistance, This Is Not My World focuses its attention on the affective aspects of the group’s activities, using artist interviews and extensive documentation to bring the reader closer to the felt experience of their public interventions. Situating the group’s work within the context of broader developments in conceptualism and theories of the avant-garde, Rounthwaite provides a fresh consideration and newly detailed account of this marginalized episode in global art history.