Study # 2

Interpretations of Findings and Conclusion

One of the most valuable lessons I learned through this study is that there is more to the profession of teaching art to adults than simply being an excellent artist. Through narrative inquiry using four teaching artists, I found that each participant has their individual styles and approaches to teaching adults art making.  Each participant has a strong passion for the art form they teach, knowledge of the medium, and they showed complete confidence personally and professionally. I also discovered that their mentor(s) and life experiences had an effect on their teaching methods and their desire to teach adults.

To summarize several of the teaching artists’ approaches, the participants shared with me are: to encourage their adult student’s art making, growing their student’s interest in that particular medium, building relationships, make meaningful connections with culture and life experiences, and the teaching artists aim to align their art instruction with what the adult learner wants.  Also, it was great to explore the various ways these participants foster art making with their adult students in the different platforms of learning. “With many different providers, there are multiple, sometimes competing purposes for adult arts education.” (Kerka, 2003).

Today, we are bombarded, connected, and “on-demand” with the world through television, social media, and the World Wide Web, we easily spend our days consuming these informational inputs. Creating art allows us to respond to them. This study is not intended to be a recipe for teaching adult studio classes, nor advocate one method over another. The participants shared several approaches, characteristics, and qualities that work for them in the adult art making classroom.  Mainly, these are attributes you find in all good art teachers, such as intelligence, social awareness, and the love of art. All of the participants are kind, approachable and accomplished teaching artists. They place their students at the center of their instruction.            

They praise, support, and encourage their students. They use a direct approach to teaching, where students proceed in incremental steps under the guidance of them and offering a solution to problems. In all scenarios, the teaching artists provide structure, direction, and supportive teaching because the students want clarification of what they need to learn. Adult learners have a reservoir of life experiences and are independent thinkers, so they already know why they want to learn. Seeing a student progress and succeed professionally in the art world can be just as empowering for the student as to the teacher.

Study #1 The Underrepresentation of Women in Art History

Study #1


            This is not just another alternative way to teach art history; it is a model that has vital importance to the student and instructors.  Using a feminist pedagogical approach is a responsive method of teaching in pursuit of equality in the classroom and developing a curricula reaching to introduce learners to women artists in history that have been underrepresented. The following model is executed by using six basic principles of feminist pedagogy, the literature review, and the findings from art historians in Chapter Four. 

The Model Description

            A good teaching model helps shape the curricula delivery process. This model abandons traditional pedagogical notions of higher education art history curricula.  The model is collaborative, student-centered, and does not reinforce societal hierarchies, marginalization, and domination. The basic principles of a feminist pedagogy classroom completely eliminate the need of an impersonal, lecture style as the mode of delivery of content. This pedagogical approach is about enjoying alternative views of knowledge and the history of art. Even if the student lacks any knowledge of feminist art when they begin, the intent is to bring personal meaning to the learner and expose and represent more women artists.

            A large portion of this model is based on the information that emerged from the participant’s stories and experiences, as well as this literature review. In creating this model, I have borrowed tried and true’ practices and great techniques from the four historians interviewed this study.

           Various activities were chosen in this model to correlate best with the principles of feminist pedagogy. In Many of the activities are organized in groups. These activities promote classroom community, team work, listening, sharing, caring, and support. For the model to work effectively, the instructors and students are encouraged to advocate and support equality of mankind.   

             This model also suggests assignments that foster the inclusion of more women artists alongside other artists from the same art  periods.                                                            

         The model includes several evaluations of the learners understanding.  These assessments are designed to encourage meaningful and useful learning based on the foundation of feminist ideologies and the criteria of the activities.  The activities align with feminist pedagogy principles, practices and ideologies.

Objective of this Model

           The objective of this model is to bring underrepresented women artist’s recognition in an impartial way that is free of patriarchy bias. The intentions of the model are to interweave women artists into the curricula. The targeted student will gain a better understand of the role of women artists as well as their contributions. 

The Learning Outcomes

            Using the feminist pedagogy the learner will gain a better understand and/or improve knowledge of the following:

  • The linkage and relationship of art and political movements in art history
  • Recognize political, religion, patronage, gender, as well as formal aesthetic perspectives
  • Participation in small and large group discussions and activities
  •  Use necessary research skills
  • The transfer of knowledge through the sharing of ideas, feelings, experiences, reflection, questions, and social awareness
  • The exercise of strong listening skills
  • Gain multiple perspectives, theories, and ideas that reflect others
  • The demonstration of self-directed learning and leadership skills


Table 2 Six Basic Principles of Feminist Pedagogy © by Joan Crane



Instructor’s Role

Concepts/ Keywords



Acquire knowledge

Guide instruction and expectations. Be recognized as a

flexible resource

Respect, and possess reverence for other’s experiences, ideas,  and beliefs


discussion, and




decenter authority

Redefines it,

promotes it

Multiple perspectives

Evaluator and



Collaboration and cooperation

Assign  relevant tasks, activities

and projects


discussion, and



for others


Sharing knowledge,

experiences, and ideas

Don’t be the only authority or resource. Use impartial and unbiased words and verbiage

Self actualization


collaboration, and



Attempt to understand views and lenses of others

Implement unbiased attitude, be a good model to others

Shared thoughts cultures

acknowledge diversity

Overcome biases,

open minded


Multiple views,


Ask open

ended questions

Transformation, ideas and theories

Critical thinking,




            First requirement is a suitable facility that can accommodate and support a collaborative learning environment. The instructor will need to arrange the room so that it is conducive to a collaborative set up. Preferably in a team style layout, so that dialogue can take place. You might have four or five chairs around a table, rather than rows.  It’s a good idea if you are using round tables to have them in a circle, so when the small groups break out to the big group it is has minimal disruptive problems transfiguring to the larger circular arrangement.  This type of set up will lend to the student’s voice to be heard and shared.

            Since the instructor is the necessary content expert, they will need to prepare a syllabus in accordance with the institute’s schedule, objectives, goals, parameters and procedures already established.  


Ice Breaker

            An ice breaker is a good idea to get the students to relax, feel comfortable with the environment, and informally introduce themselves to each other.

            For an ice breaker at the beginning of the class ask each student to add/draw something to the squiggle line drawing then pass it on to the next student to add something else to it.  After everyone in the class has contributed to the drawing, as a large group, review and discuss the final picture. If there is time see if there are any interpretations of the collaborative drawing. This activity will give the students an opportunity to understand, share, and consider the class’s common ideas and realities. This activity can also create a natural segue way to explaining the expectations of the course.              

Classroom Discussion Leader

              The classroom discussion leader activity promotes and creates classroom in a comfortable collaborative learning environment that encourages the learners to participate in knowledge sharing and respecting the experiences of others.

               Before beginning, discuss what the learner’s class criteria and processes are, therefore, the learner will have a clear understanding of the expectations. Let the learner know their responsibilities. Give them the timeline and justify it. Ask the learners as a class if there is need for schedule changes. These group discussions are acritical analysis directly connected to the assigned reading assignments. When it is the student’s turn to lead discussion, they can either do so with a partner or solo. They ought to prepare a basic list of five to seven questions pertaining to the day’s assigned reading. Some of these questions can deal with the specific content of the reading, but others could be broad and seek to connect the text to the larger themes of the course. The student leading the discussion will prepare a lesson plan to occupy the class for approximately 45 minutes to an hour.         

               Students can e-mail their questions and lesson plan a week prior to the instructor for editing time and time to forward final plan to the rest of the class.  The student should be given space, so they can be creative. The leader may have the class break into groups or remain together as a unit. The leader can bring in additional visual material for a presentation. They may create a Power Point presentation, copy additional primary resources and materials, or they can design an original activity. Whatever they choose to do, their lesson plan must be relevant to that week's reading, chronologically appropriate, and historically accurate. The leader’s objective is to engage the other learners, synthesize information and discuss concepts gained from the readings. Please see the rubric for evaluation of this activity. This activity is inspired by the contributions of Dr. Katherine Charron’s interview.

Invite a Classroom Visitor and Paper

               Invite local guests to the classroom as a way to promote community. In addition, the visitor gives the student the opportunities to critically think about the views and experiences of others with an open mind and respect. The visitor is there to discuss and share information, ideas, and their art world relationships that are relevant to art history.

               Local visitors can be artists, art critic, art dealer, gallery owner or a museum curator. Immediately following the visit and presentation, students ought to take time to reflect on their experience that day. The student’s will write a paper referring to the visitor’s presentation. This will give the learner the opportunity to interpret, analyze, and compare information on the current issues in art history.  The student will connect the visitor’s presentation with the class readings. The paper’s length is four to five pages, thoughts should be clear, organized, and complete. Any references cited must use APA style appropriately. Research in library and with computer/internet proficiency is expected and will be part of their regular assignments. Please see the rubric for evaluation of this activity. This activity was inspired by Dr. Roberta Favis’ interview.


Class Field Trip and Paper

            A field trip to the museum or a local gallery encourages the student to challenge ideas, critically think, and consider struggles or successes artists may have had due to their gender. The field trip will help the student understand how society has changed their perspective (as a whole) of art production.

            A field trip to the local art museum or gallery allows the student to see the paintings in person. To increase the understanding of the underrepresentation and marginalization of women artist in art history, the students will complete a written paper assignment. A short research paper will be based on the original work of one male artist and one female artist from the museum or gallery. The students will describe, compare, and analyze the two paintings of their choice. The paper will reflect their interpretation, analysis, and evaluation of the works.

             They are expected to classify artworks as belonging to a particular style/movement.  What context and/or meaning are created by the relationship between these two paintings? The student should give a good description each of the two works of art using appropriate terms. Research in library and with computer/internet proficiency is expected and will be part of their regular assignments. The paper’s length is four to five pages, thoughts should be clear, organized and complete, and the research connects to readings. Any references cited must use APA style appropriately. Please see the rubric for evaluation of this activity. This activity was inspired by Mark Alexander’s interview.


            To require students to present on a particular movement encourages them to critical think, analyze, and examine art history from the perspective of why and how it was produced. The learner will share their knowledge and the information gained with other learners on the constructions of stereotypes and social practices and how it relates to the reading. This assignment allows students the opportunity to challenge attitudes, values, beliefs and feelings of their own and others. This presentation can emphasis the student’s awareness of the underrepresentation of women artists and evaluate visual culture.

            The presentation will represent one male artist and one female artist, both from the same art period. Each student can work on the subjects of their choosing. It is best that students try not to present on the same artists. Possibly a list may resolve redundancy or any overlap in that regard. Their presentation focuses on one or two of each artist’s works. The student should address the theoretical and social issues of these main works in detail. As this is a research project, a minimum of three scholarly articles and the paper are required. The presentation will include the references and a list of illustrations (if any). The presentation will focus on specific contributions made by both male and female artists. The presentation must clearly identify the artist’s works of art, apply proper terminology relevant to art, and connect to the readings. Students will be given a time limit for their presentation, approximately 45 minutes. At the time of the presentation, students can provide handouts to the audience.  The art work researched for these presentations will not be ones covered in class readings or materials. Please see the rubric for evaluation of this activity. This activity was inspired by Dr. Carol Damian’s interview.

Weekly Review Writings

               Weekly review writings help the students stay on track with the assigned readings, help them in group discussions with the concepts, and better understand, define and describe at movements.

               Each week students will hand in at least two pages of writing entries that respond to the reading assignments. This can be required to hand in each week. There is a rubric to evaluate the student’s progress, however, the writing entries are not meant to be comprehensive. The student’s written reviews are a means of communication between student and instructor.  The entries must define the major art movements, interpretation and analysis art/artists, use correct terminology, evaluate the readings, and students should reach a conclusion of their own regarding the readings.  Please see the rubric for evaluation of this activity.  This activity was inspired by Dr. Katherine Charron interview.

Self Evaluation

             When students are asked to provide a self-evaluation it promotes self                                                                                                                                                                                                                                                                                                                empowerment, self-actualization, and reflection. The self-evaluation is not a portion of the student’s final grade. The self-evaluation helps the students with participation, preparedness for discussions, and their perceived overall performance. The self-evaluation gives the student an opportunity to explain any factors that they think the professor should know in regard to their class performance.


            Through assessment the instructor approaches the student’s specific goals and expectations of the course work. The assessments validate the value of the material and serves as a measure indicating the student’s understanding and learning level. A rubric is an effective approach to assessment. Rubrics help the student to take ownership and accountability of their obligation, performance, and to improve their overall understanding of the material and activities.

            The model encourages many assessments throughout the course, and provides an example for each activity if appropriate. Instead of one overall assessment for the whole art history course, the student can track their progress with each activity and push themselves for improvement over time. As with this model, the following rubrics are intended only for an example and should be refined and altered to meet the level and subject of art history.


Table 3 Classroom Discussion Leader Rubric








Evidence of Level of Preparation and Initiative

Lesson plan was not sent prior to the assignment for feedback. Not adequately prepared; Does not appear to have read the material in advance. Lesson plan unoriginal.

Lesson plan sent for feedback two days or less before the assignment. Appears to have read the material, but not closely or did not read all material.  Lesson plan effective.

Lesson plan sent to the instructor for feedback four days before the assignment leaving some time to distribute final plan to class. Clearly thought about the material in advance of class. Original and engaging lesson.

Well planned lesson and creative. Sent to instructor for feedback a week before the assignment. Time was reserved for distribution of final plan to class so they can Consistently well-prepared; Investigates and shares relevant material not explicitly assigned.


Questions Prepared for Discussion

Did not prepare a list of questions pertaining to the assignment.

Prepare a list of 1-2 questions pertaining to the assigned reading.

Prepare a list of 3-4 questions pertaining to the assigned reading.

Prepare a list of 5-7 questions pertaining to the assigned reading.


Relevance to Topic Under Discussion

Discussion is off-topic and/or distracts class from discussion. Doesn't use allotted time given connecting assignment to presentation.

Discussion is sometimes off-topic or distracting. Lesson plan does not promote class discussion or participation. Uses some of the time allotted appropriately and strays from topic the rest of the time.

Discussion is relevant to theme. Lesson plan promotes some participation, engagement, and discussion of the readings with class. Uses most of the time allotted in discussion with the readings.

Lesson plan is in direct connection with the scheduled reading assignments. Lesson plan promotes in-depth analysis of material with class participants so that learners can synthesize information and concepts gained from the readings.  Uses the entire time allotted for quality discussion.



Off-topic, completely irrelevant. No resources used.

Sometimes off-topic or sometimes relevant to readings. One resource used.

On-topic and relevant to theme. More than one resource used. Meets assignment criteria.

Directly connection with the scheduled reading assignments. Resources are credible and leader uses a variety of resources.


Listening and Cooperation

Inattentive or makes inappropriate or disruptive comments.

Participates occasionally; Does not respond to contributions of others.

Participates regularly without monopolizing; Listens and responds to contributions of others.

Models good classroom citizenship. Listens without interrupting. Responses to others are appropriate.


Total Points:



Table 4 Classroom Field Trip/Visitor Paper Rubric









No participation, not engaged, not present.

No questions, but was actively listening to the conversation/tour guide.

Asked general questions pertaining to the visitors discussion/tour guide.

Completely engaged. asks specific questions in connection to information the visitor/tour guide introduced.


Clarity of Thought

Erroneous or no explanation, in concept and/or assignment.  Very hard to read or understand what is being said. Does not begin assignment. Verbose writing.

Unclear, incomplete,  and poor understanding of the processes. Analysis, inferences are incorrect, unclear, or omitted. Awkward word choice. Clichés and wordiness.

Clarity of thought, shows understanding of most concepts includes good hypothesis and questions. Analysis, inferences are clear and complete. Word choice usually appropriate.

Clarity of thought is complete and concise. Shows clear understanding of all concepts. Strong hypothesis, analysis, and inferences. Thoughtful and creative questions. Flows between ideas.


Subject Knowledge

Student does not have grasp of information; student cannot answer questions about subject.

Student is uncomfortable with information and can only answer fundamental questions.

At ease with questions and has prepared answers. Student can answer questions. Student does not elaborate.

Demonstrates full knowledge by linking connecting related concepts to answers. Student can elaborate if necessary.


Proper use of Terms

Omits significant or misuses terms. No terms or frequent errors in usage.

Occasional use of correct terminology with several errors.

Adequate usage of terms with a few minor errors.

Consistent, accurate usage of terms, no errors.



Not complete. No or completely unorganized format. Hypothesis, body or conclusion missing. Many misspelled words and grammatical errors. No data.

Contains 1-2 pages, hypothesis, body and conclusion, but weak and unorganized. Several misspelled words and grammatical mistakes. No data. Little research was done.

Contains 3-4 pages, a hypothesis, body and conclusion. Some data and few misspelled words and grammatical errors. Adequate research was done and evident.

Contains 4-5 pages, a Hypothesis, body and conclusion. Data used and spelling and grammatically correct. References are included and cited appropriately.


Paper's Relevance to Topic

Thought deviates from discussion topic. No relevance.

Thoughts and experiences do not pertain or connect to discussion.

Experiences and thoughts relate to the broader themes of the discussion.

Paper's relevance to topic is consistent and clearly connects to the discussion.



Poor understanding of concepts. No conclusion. No Data.

Demonstrates some understanding of concepts. Conclusion is incorrect or omitted, or incomplete in analysis, inferences. No data present.

Demonstrates understanding of concepts and conclusion ties in with hypothesis. Data is present and points to the conclusion.

Demonstrates a strong, clear understanding of concepts and conclusion ties in with hypothesis. Conclusion is supported by data collected.


Neatness and Mechanics

No attempt at neatness or mechanics is evident. Shows carelessness. Includes a blank page.

Paper lacks clarity and organization. Concepts are unclear and confusing. Has more than four misspellings and/or grammatical errors.

Paper is clear and organized, there are a few misspelling and grammatical errors.

Writing style shows neatness, grammatically correct and spelling correct. Paper is well organized and very concise thoughts and analysis.


Total Points:




Table 5 Presentation Rubric











Evidence of Level of Preparation and Initiative

Not adequately prepared; Does not appear to have read the material in advance.

Prepared presentation. May or may not have read the materials closely or at all in advance.  No handouts available.

Smooth set up. Presentation ready and prepared. Clearly read and thought about the material in advance of class. Handouts useful to follow along.

Consistently well-prepared. Time was reserved for set up before class. Student clearly  read materials in advance. Handouts contain supplemental information.





Audience cannot understand presentation because there is no organization.

Audience has difficulty following presentation. Presentation is unorganized. Sometimes confusing.

Presents information for the most part in a logical sequence which the audience can follow.

Presents information in logical, interesting, and organized sequence which the audience can follow.




Subject Knowledge

Student does not have grasp of information; student cannot answer questions about subject. Confusing.

Student is uncomfortable with information and is able to answer only rudimentary questions.

Student is at ease with expected answers to all questions, but fails to elaborate.

Student demonstrates full knowledge  by answering all class questions with explanations and elaboration.





No graphics and/or do not support presentation, Text is too small or light for audience to read.

Occasionally uses graphics but they rarely support  presentation. Text is unclear to audience.

Graphics relate to  presentation. Text is not overpowering or too small. Minimal distractions.

Student's graphics explain and reinforce screen text and presentation. Clear and appropriate use of text. Attractive visually.





Student's presentation has four or more spelling and/or grammatical errors. No citations.

Presentation has three misspellings and/or grammatical errors. Improper citations.

Presentation has no more than two misspellings and/or grammatical errors. Contains a few improper citations.

Presentation has no misspellings or grammatical errors. Proper citations.




Eye Contact

Reads off of the slides with no eye contact.

Occasionally uses eye contact, but still reads off most of the slides.

Maintains eye contact most of the time but frequently returns to notes or slides.

Maintains eye contact with audience, seldom returning to notes.




Pronunciation and Articulation

Mumbles, incorrectly pronounces terms, and speaks too quietly for students in the back of class to hear.

Voice is low. Student incorrectly pronounces terms. Audience members have difficulty hearing presentation.

Voice is clear. Student pronounces most words correctly. Most audience members can hear presentation.

Uses a clear voice and correct, precise pronunciation of terms so that all audience members can hear presentation.







Total Points:



















Table 6 Weekly Review Paper











Weekly Entries

Entries less than 80% of the time.

Entries 80% of the time.

Entries 90% of the time.

Regular daily entries




Proper use of Terms

No terms or frequent errors in usage.

Occasional use of terms with slight amount of errors.

Adequate usage of terms with limited amount of errors.

Consistent, accurate usage of terms




Applicable to the Lesson

No practical application.

Occasionally relates to real life skills.

Usually finds practical application.

Able to apply learning.




Understanding of Material

Does not  understanding of concepts.

Cannot adequately demonstrates understanding of concepts.

Usually demonstrates understanding of concepts.

Shows clear understanding of key concepts.




Clarity of Thought

Erroneous or no explanation,  in concept and/or assignment.  Poor organization. Awkward word choice. Very hard to understand. Does not begin assignment.

Unclear, incomplete,  and poor understanding of the concepts. Analysis, inferences are incorrect, unclear, or omitted. Limited organization. Clichés and wordiness.

Clarity of thought, shows understanding of most concepts. Analysis and inferences are clear and complete. Organized. Appropriate word choice.

Clarity of thought complete. Shows clear understanding of all concepts. Analysis, and inferences are clear. Thoughtful and creative questions. Well organized.








Total Points:




Table 7 Self-Evaluation Rubric












 Preparation for Discussion

Never prepared for classroom, group, or assigned discussions.

Seldom prepared for classroom, group, or assigned discussions.

Usually prepared for classroom, group, or assigned discussions.

Always prepared for classroom, group, or assigned discussions.




 Participation of Topic Under Discussion

Contributions are off-topic or distract class from discussion. Absent; Does not contribute.

Contributions are sometimes off-topic or distracting. Few contributions; Seldom volunteers but responds to direct queries.

Contributions are always relevant to discussion. Voluntarily contributes to discussion without prompting.

Contributions are relevant and promote in-depth analysis of material and of other Students. Models good classroom citizenship.




Evidence of Level of Preparation for Class Assignments

Not adequately prepared; Does not appear to have read the material in advance of class.

Appears to have read the material, but not closely or did not read all material.

Clearly read and thought about the material in advance of class.

Consistently well-prepared; Investigates and shares relevant material not explicitly assigned.





Inattentive or makes inappropriate or disruptive comments.

Participates occasionally; Does not respond to contributions of others.

Participates regularly without monopolizing the conversation. Listens and responds to contributions of others.

Models good classroom citizenship. Listens without interrupting. Responds to others with appropriate and respectful answers. Promotes active participation by others.




Respectfulness of other's student's views

Does not attempt to understand other's views and experiences that do not align with their (student's) own.  Does not display respect for others.

Displays some bias of other's views and experiences. Seldom open mined. Seldom respectful in discussions.

Attempts to understand other's views and experiences. Seldom uses biased language in discourse. Attempts open mined. Respectful.

Understand other's views and experiences. Doesn't use biased language in discourse. Open mined. Very respectful of other's.




Are there any factors that you think the instructor should know?









Total Points:




Rubric Suggestion to Instructor

     If an adult learner receives a score of “one” on the above rubrics, there is something wrong. If it is a situation out of the learner’s control like sickness, injury or a death in the family, it would be wise to allow the adult learner to make-up the assignment. If the learner received a “one” because the directions or deadlines were not understood or clear, it would be judicious to discuss and clarify any questions they may have had so the misunderstanding does not reoccur. If the learner is obviously not participating at will, then I suggest giving the learner a contact phone number. If they are interested in discussing the class assignments and the class expectations they should schedule an appointment outside of normal classroom hours.

Summary of Model

            Based on the data collected and the literature review, I have gained the knowledge necessary to design an art history class that is more inclusive of women artists.  In constructing a feminist pedagogy art history course, I integrated some of the activities used by the  historians interviewed in this study they found successful in their instruction. These are not a collection of teaching assignments, but activities that I chose that best reflect the ideologies of a feminist classroom.

            The model abandons traditional pedagogical notions of an art history course by not reinforcing societal hierarchies and domination.  The model is collaborative and student-centered and does not use the lecture style as the mode of delivery of content. This model includes alternative views of knowledge.

The Feminist Pedagogy Art History Classroom Model Above Includes:

            1. Through presentations, texts, museum visit, artists visits and leader discussions, the examination of a greater more number of artwork by women artists and information about their lives in art history.

            2. The teaching of students about the art and lives of both men and women artists side by side, this heightens the awareness of the litany of missing women artists. 

            3. Inviting local members of the art world into the classroom, visits to area museums.

            4. Students participating in presentations, leading discussions, collaborating and participating in class discourse as a way to take full ownership of their learning process.

            5. Developing more classroom resources to teach about women artists.

            6. Comparative qualities of male and female’s artists work and lives to shed light on the similarities and differences of their artistic identity development.

            7. Including interviews where the students introduce themselves to a classmate next to them, then relating to the class of the other classmate’s short biography.

            8. Providing an opportunity for students to participate in art creation.

            9. Discussing issues in the business and professions of art and contemporary artists.



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31.10 | 18:33

Great job from Yolanda AND Norma

18.10 | 03:33

The purpose of art is not simply to be shocking. Any homeless streetperson can do that. The purpose of art must be higher and remain higher than the gutter.

11.10 | 12:45

ive didn't read all the articles but what I read are very affective

20.09 | 14:39

There is clearly a need for Women's movement.

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