Visual Culture Strategies

Specific Strategy:	Definition:	Implementation Suggestions:
Subvertising (Chung & Kirby, 2009) (Darts, 2004)	Students redesign advertisements, altering the slogans or logos of the company to communicate an alternate message.	Facilitate a class discussion on the effect of slogans and logos on a company's public image. Provide background information and examples of logos and slogans. Create signs to convey a message such as no smoking, quiet area, etc. Play a slogans guessing game in which students identify companies through their slogans. Identify historical examples of detournment, such as the Situationalist International of the 1950s and 1960s. Provide examples of art activism, conceptual, performance, and guerilla art. Identify subvertising exemplars using www.adbusters.com. Utilize technology as it is available: digital cameras, scanners, camcorders, image manipulation, design programs, and video editing software. Discuss the manner in which these exemplars redesign, appropriate and change the message of the original advertisement, slogan or logo. Provide structure for students to discuss their intended meanings during and after creation. Provide feedback to students as they create their subvertisements. Encourage students to brainstorm multiple solutions for their intended meaning using their sketchbooks. Identify the function of the original image and the subvertisement.
Investigation-Based Artwork (Freedman, 2003)	Teach processes of idea development and analytical skills. Have students research areas of interest, critique visual culture artifacts, and create artworks based on their investigations.	Have students create artworks based on their own research. Teach students how to critique visual culture artifacts. Provide structure for students to discuss and reflect on their interpretations of visual culture artifacts. Have students identify the function of visual culture artifacts and the function of their artwork created in response to the investigation of visual culture artifacts.
Theme Parks (Jeffers, 2004)	Students study the historical precursors to theme parks and the design process used in creating modern theme parks. They design a theme park of their own.	Create a presentation on theme parks using Jeffers (2004) as a reference: include information on the function and structures of theme parks and the process of idea development and design related to theme parks. Model the process for creating models and advertising related to theme park idea development. Present criteria for successful completion of the project. Allow students to discuss the progress of their artworks. Provide feedback to students in the creation process. Have students create preliminary drawings in designing their own theme parks, and then create models of the theme parks. Have students create advertising related to the theme park.
Multimodal Sites (Duncum, 2004)	Study multimodal sites such as picture books or film, and analyze the relationship between the visual aspects and verbal or auditory aspects of the artwork in producing intended meaning. Base creation products on this investigation; i.e., study segments of film, analyzing the relationship between the auditory and the visual aspects of the film, then storyboard and make original films and videos.	Present information on the techniques that movies use to communicate meaning and mood: "camera angles, point of view, length of shots, framing and cropping, long shot or close-ups, editing techniques like fade in and fade out, dissolves or wipes, dialogue, etc" (Duncum, 2004, 260). Model how to critique segments of film using a think aloud strategy. Provide opportunities and structure for students to discuss and reflect on the meaning and mood conveyed by segments of video. Analyze the relationship between the words and the visual images in the video segments. Model how to storyboard. Model how to make original films.
Big Ideas and Contemporary Art (Mayer, 2008)	Analyze contemporary artworks and discuss the concepts addressed by the artists. Have students create artworks in which they similarly express their point of view on these "big ideas" (broad concepts that exist across curriculum and discipline areas, and are essential to the human experience: i.e., war, peace, love, poverty, fear, etc.)	Model how to analyze these artworks. Select contemporary artworks that deal with relevant big ideas. Provide opportunities for students to reflect on these ideas and discuss them. Identify the functions of the artworks and the functions of the artworks that students create in response to their critical inquiry. Encourage students to explore several approaches to visual representation of their ideas using a sketchbook or preliminary sketches.
Revision It (Keifer-Boyd, Amburgy, & Knight, 2007)	Change the meaning of images through reordering the composition, changing the text and image relationship, juxtaposing two opposing objects, changing the setting, changing the text or title, cutting sections, repeating sections or objects, or emphasizing an object or text.	Choose visual culture objects that include text and images such as advertising, picture books, magazine images, comic books or graphic novels. Model how to interpret the original meaning of the artifacts through analyzing the images and text. Demonstrate the how to use the listed techniques to change meaning of the image. Use technology as it is available or developmentally appropriate for students. Display product examples for students to reference. Have students select images in which they are interested. Provide structure for students to discuss the creation of their artworks during and post production. Provide feedback as students progress in the creation of their artworks. Allow students to reflect on their artistic choices. Have students compare the original meaning of the artifact with the image that they created. Encourage students to approach their visual problems by identifying several solutions and choosing the best solution.
Memorable Narratives (Keifer-Boyd, Amburgy, & Knight, 2007)	Students identify an object or image that is important in their life, identify memories connected to the object or image, and create an artwork that explores the importance of this object or image.	Model the process for ideation and creation. Provide product examples. Examine a rubric that details criteria for successful completion of the project. Encourage students to discuss their in-process artworks and final products. Provide structure for students to reflect on the significance of the object or image to their lives. Discuss images and objects that are collectively important. Help students who are struggling to identify their personal connections to an image or object. Identify the function of the object or image, both personally and socially.
Cultural Artifacts (Keifer-Boyd, Amburgy, & Knight, 2007)	Have students select an artifact that represents their culture and create an artwork about the object's meaning or personal significance.	Help students brainstorm culturally significant or symbolic artifacts. Have students bring these artifacts in to class. Provide structure for students to analyze, discuss, and reflect on the meaning and personal significance of this artifact to their lives. Help students identify the function of this artifact. Provide a rubric that outlines criteria for successful completion of the project. Provide feedback as students create their artworks. Encourage students to sketch several visual solutions to their conceptual problem and choose the best idea to pursue in creating their artwork. Provide structure for students to reflect on their artistic choices and discuss them. Display examples for students to reference in the creation of their personally meaningful artworks.
Race and Gender Constructions (Keifer-Boyd, Amburgy, & Knight, 2007)	Examine historical and contemporary representations of race and gender. Reflect on these social constructs and personal identification with them. Create an artwork that explores the idea of gender or race constructs.	Discuss what it means to be a man or woman. Discuss what it means to be a certain race. Examine how the media or advertising portray women and men, or particular races. Model how to revision these representations. Provide structure for students to reflect on these social constructs and identify own ideas about them. Provide a rubric that outlines the criteria for successful completion of this open-ended project. Provide structure for students to discuss their in process artworks and final products. Help students identify the function of their artworks. Provide feedback to students about the progress and effectiveness of their artistic choices.
Money Design (Reisburg, 2008)	Students identify the design and content of articles of money: bills or coins. Students design their own money depicting a personal hero.	Provide a conceptual framework for a creation activity involving currency using picture books to provide background information: So You Want to Be President (St. George, 2004); Money, Money, Money: The Meaning of Art and Symbols on United States Paper Currency (Winslow Parker, 1995); Harvesting Hope: The Story of Cesar Chavez (Krull, 2003); Americans Who Tell the Truth (Shetterly, 2005). Examine exemplar artists who work with currency as an artform: www.alternatingcurrency.com; Marshall Webber and Fiona Hall. Examine activist role models as subjects to include in the design of personally meaningful money. Provide a rubric that identifies criteria for successful completion of this project. Provide structure for students to plan and reflect on artistic choices. Provide feedback throughout the creation process. Examine the relationship between form and function of money.
Postcards (Silverman, 2007)	Study exemplars of postcards, discuss memories of childhood and place with a partner, and create a postcard that is a visual representation of the partner's description of childhood and place.	Examine several postcard exemplars as a whole group, identifying the materials used in production, the content, and production and viewing contexts. Model a discussion of memories of childhood and place using a think aloud. Facilitate a brief whole group discussion on memories of childhood and place. Examine exemplars and a rubric identifying criteria for successful completion of the project. Allow students to discuss their artistic choices. Discuss the products in relation to the expression of intended meaning and the process of creation. Examine the relationship between form and function of the postcards.
Postmodern Principles (Gude, 2004)	Base studio art projects on diverse practices of contemporary art-making: appropriation, juxtaposition; re-contextualization; layering; interaction of text and image; hybridity; gazing; representin'.	Prepare a presentation on these practices of contemporary art-making using Gude, 2004. Prepare examples of each technique. Model each technique. Allow students to utilize chosen techniques in order to create an open-ended, personally-meaningful artwork. Provide opportunity for students to reflect and discuss their effectiveness of their artistic choices. Provide feedback throughout the creation process.
Deconstructing Disney (Tavin & Anderson, 2003)	Students critically analyze representations of race and gender in Disney movies, choose an issue and a Disney film for an art project, and create movie posters or DVD covers that illustrate a different vision of the movie.	Facilitate a classroom discussion using the following questions: o Define "issue". o How do people get to know one another? o How to we learn about other people? o How do others learn about us? o Does our knowledge of each other come from TV, advertisements, toys, etc.? o Define "stereotype". Critically examine representations in Disney movies such as Peter Pan and Pocahontas. Compare Disney representations of Native Americans to other popular representations of Native Americans. View clips from other Disney films and critically analyze them using the following questions as needed: o Who are the main characters? o What do they look like and how do they behave? Facilitate a whole group discussion on how students would change the movies to address these issues: race, gender, history, and violence. Have students examine the movie posters or DVD covers for these movies. Help them identify the design of these artifacts. Ask students to reflect on their redesign qualities and sketch several ideas. Provide feedback throughout the process of creation. Display product examples for students to reference in the creation of their own products.
Multinational Corporations (Tavin & Hausman, 2004)	Students examine globalization issues using multinational corporations such as Nike or McDonalds as sites of visual culture, relate these investigations to their own life experiences, and create an artwork based on this reflection.	Present information on globalization and help students identify and analyze visual culture sites, artifacts and images. Help students identify the effects of consumerism and globalization, identity formation, and equity by analyzing multinational corporations. Provide background information on the multinational corporations, including facts about labor practices. Select advertising, logos, and artifacts produced by or about these multinational corporations. Discuss the identity of these multinational corporations, the role of artifacts in creating and contributing to this corporate identity, and the relationship between business practices and the image of the company. Provide background information on marketing discussing the identity of spokespersons or models, the style or image portrayed by promotional material, the consumer demographic, the placement, cost and type of products, viewing contexts, and production contexts (examine the label to see where these products were produced). Examine advertising or promotional material and identify who is represented or portrayed, how the story is conveyed, and what points of view are missing. Encourage students to create artworks that synthesize their understandings of globalization and their personal experiences and ideas. Provide structure for students to discuss and reflect on the issues of globalization. Suggested products include: in-class presentations, field-trips to visual culture sites, critical activities led by the student.
Response to Globalization (Tavin & Hausman, 2004)	Examine artworks produced in response to globalization and create personally meaningful artworks inspired by this investigation.	Examine several of the following artists: Alicia Candiani; Andreas Cursky; Hans Haacke; Alfredo Jaar; Komar and Melmid; Gabriel Orozco; Pratibha Parmar; Yinka Shonibare; Kim Sooja; Tuomo Tammenpaa; Krzysztof Wedizco; Chris Woods. Help students identify the structure, content, and function of these artworks. Help students identify personally meaningful objects or images. Help students identify the stories associated with these objects and reflect on their personal experiences with them. Help students identify what these objects say about themselves or others. Have students create artworks based on this reflection.
Consumer Products (Tavin & Hausman, 2004)	Students examine a consumer product or a toy, make connections to works of art and to themes of globalization, and produce an artwork in response to this investigation.	Select a consumer product in which students are interested and display it in the middle of the room. Provide background information on the artifact, including information concerning its production, marketing, and consumption. Have students draw or write a story about the object. Use the following guiding questions to aid in the process of investigation: o Where did I come from? o Who made me? o How am I part of culture? Help students identify connections to other works of art and themes of globalization. Provide structure for students to reflect and discuss their ideas related to this investigation. Provide a rubric that details criteria for successful completion of this open-ended project. Encourage students to tell a different story about the object in relation to individual dreams, desires, and real-life situations.
Visual Culture Field Trips (Tavin & Hausman, 2004)	Students take field trips to visual culture sites and create artworks related to the critical investigation of visual culture on the field trips.	Visual culture sites include: "shopping malls, toy stores, and theme restaurants" (Tavin & Hausman, 2004). Explore the visual culture artifacts contained in these sites. Suggested creation activities include: "photographic documentation and interpretation of various notions of community; performances highlighting cultural perspectives; video-taped interviews with students, parents, neighbors and shop owners; alternative forms of advertisements that take up issues of globalization and visual culture. Provide exemplars for the suggested products. Provide a rubric that identifies the quality expectations for successful completion of a project. Provide structure for students to plan their projects, discuss their artistic choices, and reflect on the effectiveness of the final product. Provide feedback throughout the creation process.
Pop Star Icons (Taylor & Ballengee-Morris, 2003)	Students investigate celebrity pop stars as background for creation activities. Students' creation activities are related to the development of a fictional pop star icon.	Help students investigate how video, advertisements, and other forms of visual culture contribute to celebrity status. Research the careers of celebrity pop stars locating related visual culture artifacts: articles, interviews, promotional items, music videos. Recreate various stages of a fictional pop star's rise to fame. Suggested artworks include: music videos, film documentations, murals, magazine creations, photography, books, or clothing design. Provide students with a rubric that details criteria for successful completion of this open-ended project. Provide structure for students to discuss artistic choices and reflect on their effectiveness. Give students feedback throughout the creation process.
Appropriation (Taylor & Ballengee-Morris, 2003)	Students examine examples of appropriated images in television and print advertisements and research the original art, artist, and production contexts. They compare the meaning of the original image with the meaning created by the image's appropriation. Students then create their own works of art utilizing the appropriation technique.	Identify imagery related to students' interests in popular culture. Model how to research the original works of art or provide background information related to the production contexts of the original images. Provide opportunities for students to create artworks that similarly appropriate images. Present examples of appropriated images in television and print advertisements. Select advertisements or television images with which students are likely to be familiar or in which they are likely to be interested. Prepare a presentation on the contexts related to this original image in an effort to save time, or guide students in researching the contexts on their own. Provide structure to aid in the research of contexts. Facilitate a whole class interpretation of visual culture artifacts that utilize appropriated images. Provide structure for the comparison of this meaning with that of the intended meaning of the original image. Discuss the differences in viewing contexts and meaning. Identify how these artifacts used appropriation to create intended meaning. Have students create open-ended projects that utilize appropriation. Provide structure for students to discuss and reflect on their artistic choices. Provide feedback throughout the critical inquiry and creation processes.
Music Video (Taylor, 2007)	Analyze music videos and create artworks related to this critical inquiry.	Examine production and viewing contexts related to the music video: career span, the relationship of this music video to other music videos, social and cultural issues, artist's intent, formal qualities and analysis, and aesthetics. Identify the implications of this video: critical, aesthetic, historical, social, and political. Examine marketing issues such as image, brand, and reputation. Examine the relationship between the images and the music. Identify appropriated images. Examine the phenomenon of stardom. Identify the narrative of the video. Use the following questions as needed to begin the critical investigation: o What question does this video generate? o What avenues of research might we use to research these questions? Have students conduct research, interpret the music video, and present the research to the class. As a class, create concept or context maps or webs. Suggested creation projects include: o Student-led presentations o Research papers o Web page constructions o Video creation or re-creation o Collage o Video construction
Student-Initiated Artwork (Ulbricht, 2005) (Wilson, 2005)	Incorporate students' self-initiated artwork into art instruction.	Invite students to bring in artwork made at home. Create a special display for self-initiated artwork. Encourage students to apply the content taught in art class to their self-initiated artworks. The teacher should offer encouragement and feedback concerning the self-initiated artwork that students bring in to class. Examine students' self-initiated artwork and identify students' narrative and technical abilities, along with interest in particular themes. Use insight gained through this investigation to identify ways to develop meaningful instructional opportunities.
Denotations and Connotations   (Barrett, 2003)	Students analyze artworks by describing the denotations (what they see) and connotations (what the denotations make them think about).	Explain the terms denotations and connotations to older students: "Denotations are what you literally see in a picture; connotation are what the things and words imply or suggest by what they show and how they show it" (p.11). Model the process without identifying the terms with younger students. Model the process of critiquing artifacts by utilizing a think aloud strategy and listing observations about an artwork or artifact. Describe what you see in the picture and what these things make you think aloud. Lead the class through the connotations and denotations activity as a whole group. Provide opportunities for students to investigate artifacts that they use every day: cereal boxes, toys, packaging, etc.
Analyzing Functions and Aesthetics   (Vande Zande, 2007)	Use the "framework of the seven components of design (use, method, need, standards, association, milieu, aesthetics) [to analyze objects in terms of] aesthetic impressions, semantic interpretations, and symbolic associations"(p. 42).	Discuss objects in terms of the seven components of design: use, method, need, standards, association, milieu, and aesthetics. Model the technique of analyzing functions and aesthetics by utilizing a think aloud strategy to analyze an object in terms of the seven components of design, the aesthetic impressions, the semantic impressions, and the symbolic associations. Write helpful prompts and display them for students to reference. Discuss objects in terms of aesthetic impressions: what is attractive about the design. Discuss objects in terms of semantic interpretations: how it is used, what it is used for, and qualities of the design. Discuss objects in terms of symbolic associations: style, significance, and meaning attached to the design of the object.
Interior Decorating Magazines and Critical Inquiry   (Lackey, 2005)	Discuss design and aesthetics using images from interior decorating magazines, and base creation exercises on this critical inquiry.	Utilize the following questions when investigating images from the decorating magazines: "Who is the audience? To whom is this speaking? Who is the "expert" about aesthetics or the way that things should look? What things are important or valued in this place? Who do you think might live here and who might not? Are things missing from this home compared to homes that you know or in which you have lived? Finish this sentence: This home reminds me of a ... For what does this image encourage us to long?"(p.335) Students can base creation activities on this critical investigation of decorating magazine images.
Postmodern Concepts   (Freedman, 2003a)	Teachers frame appreciation and creation exercises around postmodern concepts such as juxtaposition, association, suggestion, appropriation, and cultural critique.   (Interested parties may benefit from a full examination of the list provided in Freedman's book.)	Help students identify how these concepts are utilized in visual culture artifacts. Help students discuss the meaning of these visual culture artifacts in groups, acknowledging differences in viewing contexts and differences in interpretations. Demonstrate how students might utilize postmodern concepts to create a personally meaningful artwork. Connect these experiences to their own lives through reflection opportunities. Help students investigate production and viewing contexts, content, associations related to visual experiences, and formal qualities of visual culture artifacts. Present background information about production and viewing contexts to help students better understand artifacts.
Deconstructing Comics   (Williams, 2008)	Critically investigate comics and graphic novels.	Explore the different styles of drawing and design used in comics and graphic novels. Examine intended meaning. Explore the relationship between the text and the images. Explore Big Ideas such as empathy, history, war, peace, and human rights. Explore the works of artists such as: Sue Coe, Joe Sacco, Eric Drooker, Seth Tobocman, Marjane Satrapi, Brian K. Vaughan, Pat Mills, Joe Colquhoun, Joel Priddy, Ester Pearl Watson, Aileen Kominsky Crumb, Lynda Barry, Chirs Ware, John Porcellino, and Art Spiegelman.
Music Video Clips   (Duncum, 2003b)	Students critically investigate clips of music videos.	Have students watch the video clip and discuss the following questions: What is the meaning of the video? What symbols were used in the video? Where do you think these ideas came from? Have students review the video clip and identify interesting aspects of the video. Have students research these aspects of the video. Help students identify connections in style and theme between the video clip, ideas, art, and other visual sources. Use with older students.
Reflective Journals   (Daiello, Hathaway, and Rhoades, 2006)	Students record their responses to visual experiences via writings and images.	Allow students to discuss their reflections with each other. Help students identify conflicting ideas and issues that they cannot resolve as they reflect in their journals. Have students create artworks about these conflicting ideas.
Research Journals   (Freedman, 2009b)	Students research artists or artifacts of their interest.	Teachers identify students' interests by looking at their journals, then design learning experiences that reference students' interests and expand their art knowledge and understanding. Teach research strategies to students. Identify other artists for students to research. Use with older students.
Visual Representations of Interest   (Freedman, 2005)	Critique students' visual representations of interest.	Identify students' visual representations of interest such as toys, cartoons, comic books. Teach students techniques for critiquing this work: analyzing formal properties, production and viewing contexts, and meaning.
Home Products Share   (Crum, 2007)	Teachers incorporate students' home-made art products into class activities.	Encourage students to bring in home-made artworks to class to use in show and tell activities. Have students identify where and why they made the artwork. Incorporate aspects of home-made art projects such as media or subject matter into school projects. Create a display for students' home-made art.
Still Frame Critique   (Taylor and Ballengee-Morris, 2003)	Identify key concepts or issues in still frames from music videos, comedies, or advertisements.	Explore topics of student interest. Allow students to pick the music videos of their choice. Define key concepts. Help students identify key concepts and issues in exemplar artifacts. Have students explore these key concepts and issues in creation products of their own.
Postmodern Connections   (Staikidis & Higgins, 2006)	Teachers present background information on contemporary artists who deal with postmodern themes, and "whose work revolves around social questions and concerns" (Staikidis & Higgins, 2006). Students reflect on the ideas that are central to the artists' work and create personally meaningful artworks that utilize postmodern concepts and social commentary.	Discuss postmodern concepts: cultural critique, altering items or imagery to create a different meaning, recycling, and transformation. Present artwork and allow students to reflect individually and collaboratively. Provide opportunities for students to share the images and objects that they bring for show and tell.
Still Frames Formal Critique	Identify students' interests in cartoons or television shows, present these images in class, pausing a still frame and critiquing the image for examples of art concepts.	Identify students' interests through informal and formal surveys. Find clips of the show on the Internet. Show the show in class, with a digital projector. Pause a still frame and identify art concepts such as repetition, balance, color, value, illusion of depth, etc.
Understanding Artworks in Context   (Freedman, 2003)	Present background information that explores the original context in which the artwork was produced and viewed: how this artwork was conceived and received in its own time and culture.	Present information about the artist, the culture in which the artwork was produced, the intended function of the artwork, the "life" of the artwork: how it was conceived, produced, sold, displayed, etc. Create an interdisciplinary unit to study the artwork in context. Examine the artwork's content, form, the many contexts in which the artwork exists/ has existed, and the associations the work brings to mind for the viewer. Determine how the meaning has changed as the viewing contexts change.

References

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Chung, S., & Kirby, M. (2009, January). Media literacy art education: Logos, culture jamming, and activities. Art Education 62(1), 34-39.

Crum, J. (2007, July). Educating the art teacher: Investigating artistic endeavors by students at home. Art Education 60(4), 39-44.

Daiello, V.; Hathaway, K.; Rhoades, M., & Walker, S. (2006, Summer). Complicating visual culture. Studies in Art Education 47(4), 308-325.

Darts, D. (2004, Summer). Visual culture jam: Art, pedagogy, and creative resistance. Studies in Art Education 45(4), 313-327.

Duncum, P. (2003, November/December). The theories and practices of visual culture in art education. Arts Education Policy Review 105(2), 19-25.

Duncum, P. (2004, Spring). Visual culture isn't just visual: Multiliteracy, multimodality, and meaning. Studies in Art Education 45(3), 252-264.

Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art. National Art Education Association. Reston, VA.

Freedman, K. (2003, March). The importance of student artistic production to teaching visual culture. Art Education 56(2), 38-43.

Freedman, K. (2005, Winter). Art education: Epistemologies of art. Studies in Art Education 46(2), 99-100.

Freedman, K. (2009, March) Teaching visual culture: Contemporary art, contemporary learning. PowerPoint, presented on 3/28/09 at the PAIDEA workshop, Memphis, TN.

Jeffers, C. (2004, Spring). In a cultural vortex: Theme parks, experience, and opportunities for art education. Studies in Art Education 45(3), 221-233.

Keifer-Boyd, K., Amburgy, P., & Knight, W. (2007, May). Unpacking privilege: Memory, culture, gender, race, and power in visual. Art Education 60(3), 19-24.

Lackey, L. (2005, Summer). Home sweet home? Decorating magazines as contexts for art education. Studies in Art Education 46(4), 323-338.

Mayer, M. (2008, March). Considerations for a contemporary art curriculum. Art Education 61(2), 77-79.

Reisburg, M. (2008, November). Finding value(s) for a currency of caring: Exploring children's books, a dollar bill, and fine art sources. Art Education 61(6), 41-47.

Silverman, J. (2007, November). Postcards from another's home: Visual dialogues for cultural tolerance. Art Education 60(6), 17-23.

Staikidis, K., & Higgins, W. (1996) In P. Duncum (Ed.), Visual culture in the art class: Case studies, 12-23. NAEA. Reston, VA.

Tavin, K., & Anderson, D. (2003, May). Teaching (popular) visual culture: Deconstructing Disney in the elementary art classroom. Art Education 56(3), 21-35.

Tavin, K., & Hausman, J. (2004, September). Art education and visual culture in the age of globalization. Art Education 57(5), 47-52.

Taylor, P., & Ballengee-Morris, C. (2003, March). Using visual culture to put a contemporary "fizz" on the study of Pop Art. Art Education 56(2), 20-24.

Taylor, P. (2007, Spring). Press pause: Critically contextualizing music video in visual culture and art education. Studies in Art Education 48(3), 230-246.

Ulbricht, J. (2005, November). J.C. Holz revisited: From modernism to visual culture (FN1). Art Education 58(6), 12-17.

Vande Zande, R. (2007, January). Chairs, cars, and bridges: Teaching aesthetics from the everyday. Art Education 60(1), 39-42.

Williams, R. (2008, November). Image, text, and story: Comics and graphic novels in the classroom. Art Education 61(6), 13-19.

Wilson, B. (2005, November). More lessons from the superheroes of J. C. Holz: The visual culture of childhood and the third pedagogical site. Art Education 58(6), 18-24, 33-34.

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