Enhanced descriptions from Syndetics:

This book introduces the student to the field of teaching, discusses theory and practice of Art Education, and synthesizes and prepares students to make the transition from student to Art teacher. It presents art education as an integration of philosophy, history, theory, and practice. Bates illustrates how to apply theory to practice as an art educator. Models, methods, and experiences are provided to enlighten, inspire, and amuse. BECOMING AN ART TEACHER is a refreshing approach to art methods.

Table of contents provided by Syndetics

• Preface-Recognizing Bats and Ways to Avoid Them (p. xi)
• About the Author (p. xv)
• Part 1 Preparing for Teaching (p. 1)
• Chapter 1 Exploring Our Roots (p. 2)
• Art to Support Society (p. 2)
• Art to Enhance the Individual Child (p. 3)
• Art as a Curricular Discipline (p. 4)
• Art Education of the 1980s and 1990s (p. 4)
• A Vision of Art Education Today (p. 9)
• Summary (p. 14)
• Chapter 2 Emphasizing Art Making (p. 18)
• Artistic Expression of Children (p. 18)
• Stages of Artistic Development (p. 18)
• Visual and Haptic Modes of Expression (p. 21)
• Three Types of Productive Activities: Closed-Ended, Open-Ended, and Laissez-Faire (p. 22)
• Teaching Models to Sequence Studio Activities (p. 26)
• Summary (p. 35)
• Chapter 3 Planning Verbally and Visually (p. 39)
• Planning Verbally (p. 39)
• Components of a Unit Plan (p. 39)
• Sample Unit Plans (p. 46)
• Unit-Planning Strategies (p. 49)
• Moving from the Planning Continuum to a Unit Plan (p. 52)
• Planning Visually (p. 53)
• Concept, Process, and Product Visuals (p. 54)
• Visuals to Present Cultural Exemplars (p. 59)
• Technology Applications to Planning and Teaching (p. 62)
• Integrating Verbal and Visual Planning Strategies (p. 64)
• Summary (p. 65)
• Chapter 4 Progressing Through Planning Toward Teaching (p. 69)
• Preparing to Write a Lesson Plan (p. 69)
• Lesson Components and Planning Strategies (p. 70)
• Expanding a Unit Plan Through a Sequence of Lesson Plans (p. 77)
• Moving from Planning to Teaching (p. 92)
• Summary (p. 93)
• Part 2 Moving into the Classroom (p. 97)
• Chapter 5 Preparing for Your Students (p. 98)
• Creating the Physical Environment (p. 98)
• Making an Aesthetic Statement (p. 98)
• Designing a Functional Space (p. 100)
• Creating the Emotional Environment (p. 101)
• Classroom Management (p. 102)
• Motivational Strategies (p. 104)
• Getting to Know Your Students (p. 106)
• Summary (p. 109)
• Chapter 6 Teaching the Language of Vision (p. 112)
• Defining the Language of Vision (p. 112)
• Approaches to Teaching the Language (p. 113)
• A Child-Centered Perspective (p. 113)
• A Subject-Centered Perspective (p. 115)
• Sample Activities to Develop Visual Language Skills (p. 120)
• Presenting Visual Concepts Visually (p. 123)
• Summary (p. 127)
• Chapter 7 Promoting Creativity (p. 131)
• Creativity in the Context of Art Education (p. 131)
• Characteristics of Creative Behavior (p. 133)
• Strategies to Promote Creativity (p. 136)
• Use of Art Media (p. 136)
• Open-Ended Assignments (p. 138)
• Brainstorming (p. 139)
• Webs to Develop Thinking Skills (p. 142)
• Bauhaus Teaching Approaches (p. 144)
• The Creative Problem-Solving Teaching Model (p. 145)
• Summary (p. 147)
• Chapter 8 Encouraging Reflection (p. 151)
• Reflecting on Art Behaviors (p. 151)
• Assessing Art Products (p. 158)
• Engaging in Critical Dialogue (p. 162)
• Summary (p. 165)
• Part 3 Expanding into the Outside (p. 169)
• Chapter 9 Embracing Diversity (p. 170)
• Multiculturalism Within the Context of Art Education (p. 170)
• How to Present Other Cultures (p. 172)
• How to Relate Other Cultures to Our Culture (p. 173)
• How to Provide for Meaningful Experiences (p. 174)
• Multicultural Unit Planning (p. 176)
• Components of a Multicultural Unit (p. 176)
• Flexible Approaches to Planning (p. 189)
• Summary (p. 190)
• Chapter 10 Making Interdisciplinary Connections (p. 194)
• Approaches to Interdisciplinary Education (p. 195)
• Planning Interdisciplinary Units of Study (p. 198)
• Suggestions for Interdisciplinary Planning (p. 198)
• Summary (p. 204)
• Chapter 11 Focusing on Art Criticism and Aesthetics (p. 208)
• Art Criticism Within the Context of Art Education (p. 208)
• The Art Criticism Teaching Model (p. 210)
• Steps and Application of the Art Criticism Teaching Model (p. 211)
• Flexible Implementation of the Model (p. 217)
• Aesthetics Within the Context of Art Education (p. 217)
• Aesthetic Concepts (p. 218)
• Aesthetic Theories (p. 221)
• Connecting Aesthetics to Studio Production (p. 234)
• Summary (p. 237)
• Chapter 12 Presenting Art History (p. 241)
• Strategies for Teaching Art History (p. 241)
• Presenting Art History Through Osmosis (p. 241)
• Taking Your Students to Art (p. 242)
• Bringing Art to Your Students (p. 243)
• Presenting Art in the Dark (p. 243)
• Use of Cultural Exemplars (p. 244)
• The Art History Teaching Model (p. 245)
• Steps of the Art History Teaching Model (p. 246)
• Application of the Art History Teaching Model (p. 249)
• Summary (p. 254)
• Part 4 Seeing the Big Picture (p. 257)
• Chapter 13 Integrating the Components (p. 258)
• Integrating Art Criticism, Aesthetics, and Art History (p. 258)
• Integrating Response and Productive Components (p. 262)
• Integrating the Four Art Education Domains in a Unit Plan (p. 266)
• Ideas For Long-Range Planning (p. 267)
• Developing a Yearly Plan (p. 271)
• Summary (p. 279)
• Chapter 14 Addressing Standards, Assessment, and Accountability (p. 282)
• Investigating National Visual Arts Standards (p. 282)
• Relating the National Standards to the Contents of This Book (p. 285)
• Demonstrating Accountability (p. 288)
• Using Portfolios to Demonstrate Learning (p. 288)
• Assessing Outcomes (p. 290)
• Designing a Grading System (p. 291)
• Summary (p. 292)
• Chapter 15 Demonstrating Teacher Competencies (p. 297)
• Articulating a Philosophy of Art Education (p. 297)
• Developing an Art Education Portfolio (p. 299)
• Presenting Yourself at an Interview (p. 303)
• Summary (p. 305)
• Postscript: from Avoiding Bats to Wholebrained Functioning (p. 308)
• References (p. 311)
• Index (p. 313)
• Worksheet Exercises
• Exploring Our Roots, Why Teach Art? (p. 16)
• Sequencing Art Experiences through the Product-Oriented Teaching Model (p. 37)
• Sequencing Art Experiences through the Process-Oriented Teaching Model (p. 38)
• Planning Verbally and Visually: Exploring an Idea for a Unit of Study (p. 67)
• Designing Visuals (p. 68)
• Emphasizing the Essential Qualities of an Object through the Use of Abstraction (p. 83)
• Moving toward Goals through Individual Objectives (p. 95)
• Writing a Task Analysis for an Activity (p. 96)
• Developing Behavioral Guidelines (p. 110)
• Designing Activities to "Concretize" Concepts about Art Elements (p. 129)
• Designing Activities to "Concretize" Concepts about Design Principles (p. 130)
• Sample Verbal Visual Brainstorming Sheet: Creative Creatures (p. 141)
• Promoting Creativity: Sequencing Studio Activities through the CPS Teaching Model (p. 149)
• Designing a Brainstorming Worksheet (p. 150)
• Sample Reflection Sheet for a Close-ended Activity: How Skillful Am I at Contour Drawing? (p. 153)
• Sample Reflection Sheet for an Open-ended Activity: Abstracting a Natural Object (p. 154)
• Generic Reflection Sheet for an Open-ended Activity (p. 155)
• Generic Reflection Sheet for a Laissez-faire Activity (p. 156)
• Specific Product-Oriented Reflection Sheet (p. 159)
• Generic Product-Oriented Reflection Sheet (p. 160)
• Reflection Sheet: Interpretation of Product Interpreting Your Artwork (p. 161)
• Designing a Reflection Sheet for a Process-Oriented Activity (p. 167)
• Designing a Closing Worksheet for a Unit of Study (p. 168)
• Closing Worksheet: Navajo Unit (p. 188)
• Generating Ideas for Multicultural Units (p. 192)
• Connecting the "Inside" to the "Outside" (p. 193)
• Interdisciplinary Reflection Sheet: Inventing Insects (p. 202)
• Exploring the Integration Process (p. 206)
• Using the Art Criticism Teaching Model (p. 239)
• Connecting Aesthetics to Studio Production (p. 240)
• Structuring a Cultural/Historical Presentation (p. 255)
• Integrating the Four Domains of Art Education in a Unit Scope and Sequence (p. 280)
• Sequencing Units of Study (p. 281)
• Addressing the National Visual Arts Standards (p. 295)
• Preparing to Write a Philosophy Statement (p. 306)
• Unit Plans
• The Abstraction of Georgia O'Keeffe (p. 47)
• Pattern in the Everyday Environment (p. 48)
• The Abstraction of Georgia O'Keeffe (p. 78)
• Navajo Sandpainting (p. 179)
• Inventing Insects (p. 200)