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  • Gallery Tour—Line, Form, Qi: Calligraphic Art from the Fondation INK Collection


    Chris Burden’s Metropolis II is an intense kinetic sculpture, modeled…

    Perhaps the most dominant art form of the last 100 years, film has an important…

    Tuesday Matinees

    Enjoy concerts featuring leading international and local ensembles in programs o…

    Art & Music,Jazz at LACMA,Latin Sounds

    LACMA offers in-person art classes for kids, teens, and adults, offering the cha…

    Random International’s Rain Room (2012) is an immersive environment of…

    Rain Room

    Artist Robert Irwin’s work in the last five decades has investigated perception…

    Barbara Kruger’s Untitled (Shafted) features her distinctive use of advertising…

    Band (2006) may qualify as Richard Serra’s magnum opus, representing the fullest…

    LACMA’s Modern Art collection features primarily European and American art from…

    LACMA’s Acquisitions Group and Art Council members share a deep affinity for the…

    Art Councils,Acquisition Groups,Art of the Middle East: CONTEMPORARY,Asian Art Council,Costume Council,Decorative Arts and Design Council,LENS: Photography Council,Modern and Contemporary Art Council,Prints and Drawings Council

    Welcome to the employment page of the Los Angeles County Museum of Art. To see a…

    Jobs,Careers,Internships,Volunteer

    Join museum educators, artists, curators, and experts for artist talks, virtual…

    Create+Collaborate

    In Golden Hour, over 70 artists and three photography collectives offer an aesth…

    Established in 1967, the Conservation Center at LACMA supports the museum’s comm…

    painting conservation,paper conservation,object conservation,textile conservation,conservation science,conservation imaging

    Barbara Kruger: Thinking of You. I Mean Me. I Mean You. is a major exhibition de…

    Featuring Ai Weiwei, Huang Yong Ping, Wang Guangyi, Xu Bing, Yue Minjun and more…

    Beyond the concrete materials of ink and paper, there is an intangible spirit un…

    To complement the presentation of The Obama Portraits by Kehinde Wiley and Amy S…

    From the moment of their unveiling at the Smithsonian’s National Portrait Galler…

    (Los Angeles, CA—January 13, 2022) – The Los Angeles County Museum of Art (LACMA…

    (Los Angeles, CA—December 14, 2021) The Los Angeles County Museum of Art (LACMA)…

    Mixpantli: Contemporary Echoes showcases the lasting impact of Indigenous creati…

    LACMA marks the 500th anniversary of the fall of the Aztec capital Tenochtitlan…

    Since the mid-20th century, California has been a beacon of both inventive desig…

    Revealing insights about family life and the quotidian in the 21st century, Fami…

    One of the most significant contributors to fashion between 1990 and 2010, Lee A…

    Comprising approximately 400 works, including an unprecedented number of loans f…

    Archive of the World: Art and Imagination in Spanish America, 1500–1800 is the f…

    Scandinavian Design and the United States, 1890–1980 is the first exhibition to…

    In the work of American artist Sam Francis (1923–1994), Western and Eastern aest…



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  • Gallery Tour—Line, Form, Qi: Calligraphic Art from the Fondation INK Collection


    Chris Burden’s Metropolis II is an intense kinetic sculpture, modeled…

    Perhaps the most dominant art form of the last 100 years, film has an important…

    Tuesday Matinees

    Enjoy concerts featuring leading international and local ensembles in programs o…

    Art & Music,Jazz at LACMA,Latin Sounds

    LACMA offers in-person art classes for kids, teens, and adults, offering the cha…

    Random International’s Rain Room (2012) is an immersive environment of…

    Rain Room

    Artist Robert Irwin’s work in the last five decades has investigated perception…

    Barbara Kruger’s Untitled (Shafted) features her distinctive use of advertising…

    Band (2006) may qualify as Richard Serra’s magnum opus, representing the fullest…

    LACMA’s Modern Art collection features primarily European and American art from…

    LACMA’s Acquisitions Group and Art Council members share a deep affinity for the…

    Art Councils,Acquisition Groups,Art of the Middle East: CONTEMPORARY,Asian Art Council,Costume Council,Decorative Arts and Design Council,LENS: Photography Council,Modern and Contemporary Art Council,Prints and Drawings Council

    Welcome to the employment page of the Los Angeles County Museum of Art. To see a…

    Jobs,Careers,Internships,Volunteer

    Join museum educators, artists, curators, and experts for artist talks, virtual…

    Create+Collaborate

    In Golden Hour, over 70 artists and three photography collectives offer an aesth…

    Established in 1967, the Conservation Center at LACMA supports the museum’s comm…

    painting conservation,paper conservation,object conservation,textile conservation,conservation science,conservation imaging

    Barbara Kruger: Thinking of You. I Mean Me. I Mean You. is a major exhibition de…

    Featuring Ai Weiwei, Huang Yong Ping, Wang Guangyi, Xu Bing, Yue Minjun and more…

    Beyond the concrete materials of ink and paper, there is an intangible spirit un…

    To complement the presentation of The Obama Portraits by Kehinde Wiley and Amy S…

    From the moment of their unveiling at the Smithsonian’s National Portrait Galler…

    (Los Angeles, CA—January 13, 2022) – The Los Angeles County Museum of Art (LACMA…

    (Los Angeles, CA—December 14, 2021) The Los Angeles County Museum of Art (LACMA)…

    Mixpantli: Contemporary Echoes showcases the lasting impact of Indigenous creati…

    LACMA marks the 500th anniversary of the fall of the Aztec capital Tenochtitlan…

    Since the mid-20th century, California has been a beacon of both inventive desig…

    Revealing insights about family life and the quotidian in the 21st century, Fami…

    One of the most significant contributors to fashion between 1990 and 2010, Lee A…

    Comprising approximately 400 works, including an unprecedented number of loans f…

    Archive of the World: Art and Imagination in Spanish America, 1500–1800 is the f…

    Scandinavian Design and the United States, 1890–1980 is the first exhibition to…

    In the work of American artist Sam Francis (1923–1994), Western and Eastern aest…



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  • Charles Brooks Photographs the Interiors of Musical and Scientific Instruments — Colossal

    Charles Brooks Photographs the Interiors of Musical and Scientific Instruments — Colossal


    A Synchrotron is one of several types of particle accelerators, speeding up electrons, protons, and various other subatomic particles along a cyclical path. The powerful machine serves as a circular speedway with a synchronized magnetic field, emitting high energy X-rays that allow researchers to render details at atomic and molecular levels—all of which would be impossible to view with more ordinary scientific tools and techniques.

    This formidable concept of capturing the unseen lies at the core of Charles Brooks’ work, as he photographs the small but vast interiors of musical—and most recently scientific—instruments.

    the interior of a Geminhardt Elkhardt Alto Flute
    “Geminhardt Elkhardt Alto Flute”

    Continuing his Architecture in Music series, one of the photographer’s latest highlights has been working with a 1717 Stradivarius violin. Describing the stringed subject as one of the most extraordinary instruments he’s captured so far, he shares, “it was a rare opportunity, and photographing it was both an honor and one of the most nerve-wracking shoots I’ve undertaken.”

    The photographer’s recent exploration of the Australian Synchrotron may foreshadow an exciting shift into a new realm of instruments. In the meantime, you can find more on Brooks’ website and Instagram.

    the interior of a 1717 Stradivarius violin
    “1717 Stradivarius Violin”
    the interior of a Larilee Elkhart Oboe
    “Larilee Elkhart Oboe”
    the interior of a 1770 Chappuy Violin
    “1770 Chappuy Violin”
    an artist at work in a studio with a photography setup





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  • Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art

    Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art



    Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art

    jascencio

    Mon, 04/28/2025 – 15:05

    Join a LACMA for a gallery tour of We Live in Painting: The Nature of Color in Mesoamerican Art.

    Mesoamerican artists held a cosmic responsibility: as they adorned the surfaces of buildings, clay vessels, textiles, bark-paper pages, and sculptures with color, they (quite literally) made the world. The power of color emerged from the materiality of its pigments, the skilled hands that crafted it, and the communities whose knowledge imbued it with meaning. Color mapped the very order of the cosmos, of time and space. By engineering and deploying color, artists wielded the power of cosmic creation in their hands. We Live in Painting: The Nature of Color in Mesoamerican Art explores the science, art, and cosmology of color in Mesoamerica. Histories of colonialism and industrialization in the “color-averse” West have minimized the deep significance of color in the Indigenous Americas. This exhibition follows two interconnected lines of inquiry—technical and material analyses, and Indigenous conceptions of art and image—to reach the full richness of color at the core of Mesoamerican worldviews.

    Please be aware that these tours are volunteer-led and subject to cancellation. Ask a member of our team on the day for details.

    Short Title
    Gallery Tour—We Live in Painting

    Event type

    Location (Building)
    Resnick Pavilion

    Primary image
    Alfonso Nava Larios, Cosmic Tree (Guamuchil), 2023, Nahua, Watercolor on amate paper, 23 1/2 × 15 1/2 in. (59.69 × 39.37 cm), © Alfonso Nava Larios, photo © Museum Associates/LACMA, by Javier Hinojosa

    Date
    Sat, 05/31/2025 – 15:00
    -Sat, 05/31/2025 – 16:00
    Mobile tile settings
    Image tile format
    Exhibition Format

    Tile type
    Image Tile

    Hide on mobile
    Off

    On-sale time
    Wed, 09/11/2024 – 15:55

    Event audience

    Credit line – Left column

    All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.

    Credit line – Right column

    Image Credit: Alfonso Nava Larios, Cosmic Tree (Guamuchil), 2023, Nahua, Watercolor on amate paper, © Alfonso Nava Larios, photo © Museum Associates/LACMA, by Javier Hinojosa

    Ticket price

    Free with museum admission

    Event Tier
    Tier 3

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  • The Strategy Of Pins On Instagram | Nicole Thomas

    The Strategy Of Pins On Instagram | Nicole Thomas


    Nicole Thomas | Episode 1058

    Nicole Thomas is a high school Ceramics Teacher by day and a Potter by night. Each summer season, Nicole takes a deep breath before diving deeper into her home studio practice. Nicole’s wheel-thrown ceramics focuses on incorporating her Signature Style with a colorful surface full of movement and visual texture.

    SPONSORS

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    What is a pin on Instagram?

    I pin on Instagram is when you take content that you have posted and you pin it to the top of your profile page.

    How many are you allowed to pin at any given time?

    You can pin three different pieces of content at the top of your Instagram page.

    What does that visually do to your page?

    So the thing that is interesting about pinning content to the top of your Instagram profile is it gives you an opportunity to highlight the three most important things that you want people to see when they come to your page.

    It’s an opportunity to show people where else they can find you and what other offerings you have for them besides what you are offering on your page.

    If I make a pin is it forever?

    No, it’s not forever. You can change them out as often as you want to. And you can curate the pin to be whatever you want it to be. So something that is interesting is a lot of the time if creators have content that go viral they will pin that viral piece of content to the top of their page. So when you visit their page you will see that content. I don’t prefer to use that strategy because I think that is a piece of content is going to go viral the algorithm is already going to roll that content around out to people so pinning isn’t going to do much to boost it. But having one of your offerings at the top of your page will show someone that did come to your profile through a viral reel what else you have to offer them. For example I have pinned the supplies I use from Amazon, my Etsy shop, and my YouTube videos.

    So you pin things for other kinds of content and other places of engagement?

    Absolutely. One of the key words that people sometimes use would be funneling. So you could pin those first three pieces of content to funnel people to where you want them to go next.

    How does a person go about pinning a post on Instagram?

    If you want to pin a post of Instagram you can make your Instagram post with still photos or you can make a reel. You can post that piece of content and once the piece of content is posted you can tap the little three circles in the top right hand corner and you will see an option to pin it to the top of your profile and then once you do that that piece of content will stay in one of the top three squares at the beginning of your profile until you decide to unpin it or replace it.

    What do you do when you are not teaching or making?

    That’s a great question. When I am not teaching or making I do a lot of hiking. I do a lot of road trips with my husband and our yellow lab, Lacy. And I also do a lot of cooking. I have always been interested in food and nutrition and being active but recently I have started joking around with people and telling them I want to make art until I’m a hundred years old and I feel like if I speak it out into the universe it will happen. But more important than that I also need to be taking care of my body so I can be making art until I’m a hundred years old. Just like staying active, walking my dog, trying to focus on cooking healthy meals as much as I can.  Those are the things I focus on when I am not teaching or in the studio making work.

    Book

    Art and the Fear of Making

    Contact

    Instagram: @classicclayworks





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  • The Pure Street Photography Competition Spotlights Humor and Chance Amid the Ordinary — Colossal

    The Pure Street Photography Competition Spotlights Humor and Chance Amid the Ordinary — Colossal


    Founded in 2020, Pure Street Photography celebrates a diverse array of captivating sights and image-makers around the globe. Coincidental timing, uncanny interactions, and moments that are stranger-than-fiction figure prominently in the platforms’s curation.

    To support their community, founders Dimpy Bhalotia and Kamal Kumaar Rao launched a grant competition earlier this year, with winners announced this week. Topping the contest is Ayanava Sil’s “Crown of Fire,” which captures the instantaneous chaos during a Diwali celebration as a child dashes with sparkling streaks trailing behind. “It’s a flash of magic caught in time, where light, joy, and imagination come together in one unforgettable frame,” Sil says.

    a kid running with sparklers appearing to stream from his head
    Ayanava Sil (India), “Crown of Fire”

    Others include Amy Horowitz’s bizarre image of an older woman clutching her bag while an enormous snake slithers up to the window where she’s seated. Joanna M. similarly builds curiosity tinged with the absurd as she photographs a proud beagle posing for paparazzi.

    See more of the contest’s winners below, and follow Pure Street Photography’s Instagram, a trove of visual wit and chance encounters.

    a woman sitting with her back to the camera on the right side of the bench, while two feet dangle over the left side
    Anna Marzia Soria (Italy), “Optical Illusion”
    people surround a dog sitting on a velvet blue sofa at a table to take its photo
    Joanna M. (United States), “Celebrity”
    a person appears like a walking shadow
    Holger Kunze (Belgium), “The Double”
    a kid in the grass with his legs up is surrounded by dozens of figurative shadows
    Valeria Ciardulli (Italy), “Spectators”
    a cat walks through a hole in a drawn deity on a wall
    Julachart Pleansanit (Thailand), “Rahu”
    a black and white image of a child swinging with her shadow seeming to swing on the ground below
    Mary Crnkovic Pilas (Croatia), “Sweet Bird of Youth”





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  • Unwind with the Ancient Japanese Art of Kumiko, a Wood Joinery Technique — Colossal

    Unwind with the Ancient Japanese Art of Kumiko, a Wood Joinery Technique — Colossal


    If you’re familiar with the Japanese art of wood joinery, you’ll likely find kumiko equally intriguing. The traditional craft emerged in the Asuka era between about 600 and 700 C.E. and similarly eschews nails in favor of perfectly cut pieces that notch into place. Intricate fields of florals and geometric shapes emerge, creating a decorative panel that typically covers windows or divides a room.

    A video from The Process, a YouTube channel exploring various manufacturing sectors and hand-crafted techniques, visits the workshop of Kinoshita Mokuge. Viewers are welcomed into the meticulous, labor-intensive process of producing elaborate, interlocked motifs. Japanese Arts also offered a glimpse into this art form a few years back during an equally calming visit to Kurozu Tetsuo’s studio.

    https://www.youtube.com/watch?v=pbPL7PqZetQ

    an in progress wooden motif

    https://www.youtube.com/watch?v=ESI2n2lvhoo



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  • ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal

    ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters — Colossal


    You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

    MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

    Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

    A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

    Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

    In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

    Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

    Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches
    Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches
    Detail of “Voodoo Quilt”
    Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches
    Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches
    Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches
    Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches
    Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches
    Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, from
    Decatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches



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  • 3 Ways to Cultivate Successful Relationships with Paraprofessionals in the Art Room

    3 Ways to Cultivate Successful Relationships with Paraprofessionals in the Art Room


    If you have students with special needs in your art room, they may come to class with a paraprofessional, teacher assistant, or a “one-on-one.” Sometimes, it can be a little vague on what their role is and how to work together. However, when you welcome instructional assistants into your art room and cultivate a great working relationship with them, there are many benefits. Students with special needs will blossom, you’ll spark a love for art in the paraprofessional, and you will be more efficient at your job.

    Foster positive relationships with paraprofessionals in the art room with these three ideas and then, dive into some frequently asked questions.

    1. Make paraprofessionals feel important—because they are important!

    Paraprofessionals are often the experts on our students in special education. They are with these students for most of the day and can answer questions about their skill level, interests, or even behavioral triggers. Ask for input for both the “in the moment” problem solving and the long-term “getting to know” the student. They can have the missing puzzle piece if you’ve tried everything and nothing’s working… or, you want to take a shortcut and go straight to what’s worked before!

    Another way to make them feel valued and respected is to collaborate on the “fun art stuff” too. Talk to them about the neat things they or their student are doing. Be cognizant that you balance bringing up problems and commands with positivity and encouragement. One way to do this is a simple “thank you” at the end of each period. Acknowledge their effort with specific tasks (no matter how small!) to let them know you appreciate them showing up and being an active participant. Another way to show you are grateful is to provide coffee, water, or treats.

    coffee cup

    2. Help yourself by helping them.

    A lot of people are uncomfortable with art because they feel like they’re “bad at art.” This is evident in the familiar response, “I can’t even draw a stick figure!” Also, many paraprofessionals don’t want to “mess up” a student’s project. Remember these sentiments when building relationships with your paraprofessionals. Although they are adults there to provide support to students, they can also be an extra art student. When you equip them to be more comfortable in the art room, they will be a positive catalyst for your students.

    One simple way to mitigate anxiety is to communicate clear expectations for the whole year and for each class period. Tell them what the students will be doing for the day and what the paraprofessional’s expectations are during this time. Just as you would for a student, provide specific instructions in more than one format, and don’t assume they already know what to do.

    A quick way to provide expectations is to print out a simplified, bulleted, step-by-step list of each action item for the lesson. You can also print the whole lesson and highlight what the students need to accomplish on that particular day. It’s very helpful to have photos showing each step because sometimes a finished art project can be visually overwhelming. If you don’t have the time to compile step-by-step instructions with photos, check out FLEX Curriculum. FLEX is a standards-aligned curriculum that includes detailed step-by-step project instructions with photos and student-facing videos and resources.

    step-by-step photos

    3. Give paraprofessionals their own art project.

    It can be wonderful when you have an eager and artistically-minded paraprofessional working with your students in the art room. However, sometimes they can be too eager to make art for the student. They are focused on having the project look “perfect” instead of indicative of the student’s true performance.

    One way to mitigate this is to preemptively leave out extra supplies and give the paraprofessionals permission to create their own piece of art next to their students. As long as the students are getting the attention and assistance they need, many paraprofessionals will appreciate the thought. They usually enjoy the opportunity to sneak in a little creative outlet during their day!

    If you’re short on supplies and worried about not having enough, many paraprofessionals can be invaluable support in helping you garner donations and recycled materials. Give them a list of what you’re looking for and chances are, they’ll work hard to collect boxes and bottles from other classrooms throughout the day. This creates many opportunities for them to feel like a contributing member of your classroom community!

    art supplies

    Let’s answer your most frequently asked questions about paraprofessionals!

    What if a paraprofessional doesn’t show up?

    It can be frustrating when a designated instructional aid doesn’t show up for your art class with their students. If you have a good relationship with them, ask them about it the next time you see them. They may have had an emergency or didn’t think it was a big deal. It’s a great time to remind them of their importance in the art room and how vital they are to maintaining a smoothly run classroom.

    However, what if this happened multiple times already? Email the lead special education teacher to gather thoughts and ask for guidance. The lead teacher often has a solid relationship with them since they work closely all day. The email will also create a paper trail documenting their absences.

    What if the paraprofessional does too much or too little of their student’s art project?

    If the paraprofessional is doing too much of a student’s project, provide enough supplies so they can make their own. If they’re not helping enough, pull them aside before class to reset expectations. Show them examples of what you need them to do and give them a quick list of written instructions. An example of a reminder expectation can sound like, “I really value your extra set of hands and eyes. Please sit at the same table with students, phone-free so you can be readily available to assist.

    What if the paraprofessional frequently leaves or disappears?

    As aforementioned, pull the paraprofessional aside to reset expectations. Remind them that they are an integral and important member of your class and it can be disruptive for students if they don’t have a steady source of support. Your chat can sound like, “I noticed you stepped out the other day. I’d really appreciate it if you remained here during class. I really rely on the support you bring because you know [insert student’s name] the best.” If the behavior persists, email the lead special education teacher for advice and follow their guidance.

    Bonus Tip

    If you’ve already had a friendly chat to reset expectations and tried emailing the lead special education teacher, you can also seek out the guidelines used in the paraprofessional’s training. This can reiterate that you, the art teacher, aren’t the one “coming up with” the rules and that they are a part of the job requirements.

    Building positive relationships with paraprofessionals in the art room is essential for fostering a collaborative and supportive learning environment. Not only does it model these skills for your students but it streamlines instructional tasks, strengthens classroom management, and bolsters individualized student support. Plus, when teachers and assistants work harmoniously together, they boost each other’s morale. Make your art room a welcoming and appreciative spot for paraprofessionals with the tips above so they’ll look forward to your class and spread a vigor for art to your students!

    What’s one thing you do to make paraprofessionals feel welcome and included in your classroom?

    How do you navigate challenging situations with paraprofessionals in the art room?

    To continue the conversation, join us in The Art of Ed Community!

    Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.



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  • The Top 5 FAQs About Printmaking in the Art Room

    The Top 5 FAQs About Printmaking in the Art Room


    Printmaking is a powerful process in the art room. It offers students hands-on, engaging artmaking experiences and teaches creative problem-solving and experimentation. The many methods of printmaking make it accessible for all students, classrooms, and budgets. However, this is also what can make printmaking so intimidating! Art teachers just like you in The Art of Ed Community asked their burning printmaking questions and we’re here to deliver practical solutions.

    Let’s answer your top five most frequently asked questions about printmaking in the K-12 art room!

    spread of prints

    1. “I’m not comfortable teaching printmaking. Where do I start?”

    Printmaking can be an overwhelming medium—there are so many forms, lots of tools and equipment, and several stages in the printmaking process. It can feel like a lot to teach on top of classroom management, ideation, assessment, and more. The great news about printmaking is that there is a process for everyone at every comfort and skill level!

    Start with simple techniques and processes like foam tray printing or stamping. These two methods are great entry points and are a good segue into block printing. They do not require any fancy printmaking tools and you probably already have the supplies you need in your closet. Boost your confidence by incorporating mediums you love! For example, if you love drawing, painting, or mixed media, try monoprinting or collagraphy.

    Another tip is to experiment first. Try exploring foam tray printing or stamping on your own for fun. Then, host a laidback Art Night event at your home with friends or at school with colleagues to practice teaching a mini-lesson. This can help you troubleshoot any considerations before you bring it to your students.

    Embrace imperfection! Printmaking is all about trial and error and the process. Don’t think you need to know everything about printmaking before diving in! Invite students into the creative process and show them how to learn from mistakes and discoveries.

    linocut plate and carving tool

    2. “I studied printmaking, but I still avoid teaching it. Why?”

    Even if you are comfortable with printmaking in your own artmaking, bringing it to students can be a whole different ball game. Printmaking can seem messy and intimidating if you have large classes and limited studio space. With a little intentional planning, printmaking can be a smooth process that is engaging for all of your students.

    Just like you’d scaffold a difficult skill with your students, scaffold the lesson and process for your instruction. Break down the printmaking process into small steps. Teach each step as an individual lesson and move on when the class as a whole is ready. For example, spend one class sketching ideas and then the next carving. When you get to “Printing Day,” set up student-led stations with clear roles to reduce chaos. Let the first round of printmaking be an experiment to see how everything works before diving in again to make more fully realized and final prints.

    Perhaps you love printmaking so much that you don’t know where to start because you want to bring every form to your students! This is a wonderful “problem” to have. Instead of overloading your students with every possibility, pick one very simple process and let your passion trickle down to your students. Once they’re hooked, you will be unstoppable together!

    pink ink on paper and brayer

    3. “How do I teach printmaking on a tight (or nonexistent) budget?”

    Certain types of printmaking can be on the pricier side and take up the bulk of your valuable art budget. For instance, lithography traditionally uses heavy blocks of limestone and requires a heavy-duty printing press with lots of studio space. Etching can also use expensive and toxic chemicals that aren’t school-friendly. However, there are many hacks and alternatives to make printmaking accessible to your students!

    Here are some budget-friendly printmaking ideas perfect for the K-12 art room:

    carved plate with black ink

    4. “I want to try block printing, but I’m worried about students cutting themselves!”

    Prioritizing student safety is a part of having excellent classroom management in the art room. Many items used for carving or incising designs, like linoleum cutters or etching tools, are very sharp. Paired with the force and pressure required for carving and many students’ poor hand strength and coordination, you may have cause for concern. With proper instruction, supervision, and limits, you can execute a printmaking lesson with zero injuries!

    Start by teaching students about the tools and equipment they will be using. Assume nothing and explain and show everything to ensure everyone is on the same page. Explain what each item is for and how to properly use it. Verbalize and demonstrate safe-cutting techniques, such as carrying sharps pointed toward the ground, cutting away from the body and helper hand, and using a bench hook or scrap board to stabilize the block. Do several exercise drills to get students in the habit of how to behave with, hold, and use these exciting tools!

    Another tip is to start with soft-cut materials, such as rubber blocks or foam, instead of traditional linoleum. These require less pressure to carve and often, duller tools. You can also practice the motions of carving with plastic tools and clay slabs before graduating to printmaking materials. These are all great alternatives for younger printmakers.

    two types of printing plates

    5. “How do I keep printmaking from becoming a total mess in my art room?”

    Art teachers spend hours and hours maintaining the art room. There are tons of materials, tools, and projects before adding printmaking to the mix. Plus, printing ink seems to multiply on hands, tables, clothes, and sometimes even the floor! In the chaos of a “Printing Day,” students may not follow cleanup instructions and leave the sink full of inky brayers. Avoid the mess and take a few simple steps to prepare for cleanup before class even starts.

    Take a look at these quick steps to avoid the mess:

    • Set up printmaking zones.
      Designate separate areas for drawing, carving, inking and printing, and drying to keep messes contained.
    • Use minimal ink.
      Show students how much they need and how to roll it out into a thin, even layer. You can even pre-portion ink into small cups so they don’t overuse and waste it.
    • Assign cleanup roles.
      Build ownership in the studio by putting students in charge of wiping tables, cleaning brayers, and organizing prints. This will free you up to supervise the class and the classroom as a whole.
    • Provide wipes and scrap paper.
      Baby wipes—store-bought or DIY—will be your best friend during printing to minimize the spread of ink! Use large scrap paper as “trays” or small scraps as “tweezers” to transport paper and prints without tiny fingerprints.
    • Grab a lot of newsprint.
      Order a bulk pack of newsprint or ask your local newspaper for scrap newsprint. Use this to blot prints to absorb excess ink. This reduces smudging and dry time.

    pink ink on paper and brayer

    Whether you’re new to printmaking or a seasoned expert, you can absolutely teach printmaking to your students! Printmaking may feel overwhelming, but it’s one of the most rewarding processes to teach. The key is to start simple so you will gain confidence and hook your students! From there, try some of the hacks and tips above to keep it budget-friendly and mess-free. Turn your most frequently asked questions about printmaking into your most frequently asked for art lesson!

    What’s your biggest classroom printmaking challenge that we can help with? 

    To chat about printmaking with other art teachers, join us in The Art of Ed Community!

    Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.



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