SchoolArts Magazine

December 2015

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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STATEMENT OF OWNERSHIP—MANAGEMENT AND CIRCULATION Required by the Act of Congress of August 12, 1970. (Section 3, 685, Title 39, United States Code) 1. SchoolArts. 2. Publication number 0036-6463 3. Filed this October 13, 2015. 4. Published monthly—September through July. 5 No. of issues published annually, ten. 6. Annual subscription price, $24.95. 7. and 8. 50 Portland Street, Worcester, MA 01608 9. Publisher, Julian Wade 50 Portland Street, Worcester, MA 01608; Editor, Nancy Walkup, 2223 Parkside Drive, Denton, Texas, 76201; Managing Editor, Hana Lasell, 50 Portland Street, Worcester, MA 01608. 10. That the owner is Davis Publications, Inc., 50 Portland Street, Worcester, MA 01608 11. There are no bondholders, mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages, or other securities. 15.— 15. Average No. Copies Each Issue During Preceding 12 Months Single Issue Nearest to Filing Date A. Total No. Copies (Net Press Run) 13,856 11,000 B. (1) Mailed Outside-County Paid Subscriptions (Include paid distribution above nominal rate, advertiser's proof copies, and exchange copies) None None B. (2) Mailed In-County Paid Subscriptions (Include paid distribution above nominal rate, advertiser's proof copies, and exchange copies) 8,641 7,836 C. Total Paid and/or Requested Circulation (Sum of 15b(1) and 15b(2) 8,641 7,836 D. (1) Free or Nominal Rate Outside-County Copies 875 876 D. (4) Free or Nominal Rate Distribution Outside the Mail 4,060 773 E. Total Free Distribution (sum of and 15d. (1) and (4)) 4,935 1,649 F. Total Distribution (sum of 15c. and 15e.) 13,576 9,485 G. Copies not Distributed 280 1,515 H. Total (Sum of 15f. and 15g.) 13,856 11,000 I. Percent Paid and/or Requested Circulation (15c. divided by 15f. times 100) 63 82 16. A. Requested and Paid Electronic Copies 26,488 20,859 B. Total Paid Print Copies + Paid Electronic Copies (sum of line 15c. and 16a.) 35,129 28,695 C. Total Print Distribution (sum of line 15f. and 16a.) 40,064 30,344 D. Percent Paid (both print & electronic copies) (16b. divided by 16c. times 100) 88 94 I certify that the statements made by me above are correct and complete. JULIAN WADE, Publisher CONTINUED FROM PAGE 14. SCHOOLARTSMAGAZINE.COM 41 Advertiser Page Advertiser Page Academy of Art University CII ACMI 46 AMACO 48–CIII Apple Subway Tours 45 Bailey Ceramic Supply 11 Blick CIV INS Davis Publications 4 13 16 General Pencil 45 Handy Art 42 L&L Kilns 45 NAEA 2 Nasco Arts & Crafts 7 PCF Studios 45 Royalwood LTD. 41 SchoolArts 46 Skutt 1 Vermont College of Fine Arts 42 The SHOP Chavant, Inc. 43 Curator's Corner 43 L&L Kilns 43 Nasco Arts & Crafts 44 SchoolArts 43 Skutt 44 Triarco Arts & Crafts 44 Youth Art Month 44 Advertiser Index M E E T I N G I N D I V I D U A L N E E D S The Artist Justin Canha CONTINUED ON PAGE 45. J ustin Canha overcame many obstacles to become an artist, having been diagnosed with an Autism Spectrum Disorder called Pervasive Developmental Disorder- Not Otherwise Specified (PDD-NOS) at the age of three. His family encour- aged his creative abilities by integrat- ing the arts into his treatment. Today, Canha shares his talents and skills with others to influence their under- standing of what it is to have a cogni- tive disability. An Early Artist As a young child living in Germany, Canha visited the local zoo every week with his father, resulting in a fascination with drawing animals. One of Canha's earliest drawings is of the buildings at the zoo represented from different vantage points. Canha's mother used sign lan- guage as a bridge between nonverbal communication and speech, and Canha quickly learned the signs for specific animals. Home videos show his mother drawing familiar animals and then, using sign language, asking Canha to repeat her drawings. Denny Rees, a British speech therapist, worked with Canha from ages four to eight. Rees made draw- ings and, using sign language, asked Canha to draw the same animals. According to Rees, Canha was able to represent animals in his drawings with "attitude and emotion from an early age." Lessons in Art When Canha and his family moved back to the United States, he began art lessons with Denise Melucci. He learned oil painting, how to draw with charcoal and pastels, and how to make clay figurines. Melucci taught Canha to represent new subject mat- ter such as people and nature scenes. She also made it possible for Canha to exhibit his work. At thirteen, Canha began working with Ben Stamper, focusing on scale and composition. Canha preferred to work small, focusing on the figure in the foreground, so Stamper encour- aged him to work larger and include the background. Stamper also acted as facilitator when Canha created ani- mation by helping with the storyline and providing music. Stamper also directed two short documentary films about Canha. Sidecars (2007) shows examples of seventeen-year-old Canha's art, his preoccupation with wolves, his gift for teaching animation to children, and his friendship with artist Lynds- ley Wilkerson. The forthcoming Don't Foil My Plans is about Canha's tran- sition to becoming an independent young adult with autism. The Adult Artist Canha enrolled in two animation courses at Bloomfield College in New Jersey, after which he enrolled in Art of the Visual Narrative, an art course on how to make ordinary moments interesting. For this class, Canha wrote and illustrated a book he called Gillian J. Furniss Canha shares his talents and skills with others to influence their understanding of what it is to have a cognitive disabilit . 14 NOVEMBER 2015 SchoolArts wrote and illustrated a book he called I Refuse! In 2010, Canha made his publish- ing debut when he illustrated the chil- dren's book Pedro's Whale, written by Paula Kluth and Patrick Schwartz. It is the inspirational story of Pedro, a heartbroken young boy with autism who is told to put away his favorite toy on the first day of school. His teacher discovers that the only way to help Pedro do his best school work is by giving him back his toy whale, incorporating his special interest into the curriculum. Canha is represented by the Ricco Maresca Gallery in New York City. Gillian Furniss is assistant professor of art education at Mississippi University for Women in Columbus, Mississippi. gjfurniss@ muw.edu W E B L I N K S www.facebook.com/justincanhasart www.sidecarsfilm.com ww.dontfoil.com

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