Crayola has "multicultural" fleshtone sets of their crayons, markers, paints, and clays. The crayon colors are: black, sepia, peach, apricot, white, tan, mahogany, and burnt sienna. How inspired!

And how funny. The burnt ochre-ish crayon (second from the right in the photo above) must be for asian. Or perhaps "apricot," fourth from the right.

Apparently muticulturalism in art education is a topic long flogged by critics, graduate courses and publications. Like the proverbial dead horse, it’s here to stay.

Michelle Marder Kamhi’s essay, Where’s the Art in Today’s Art Education?, goes to the heart of what’s wrong with this well-meaning bureaucratization.

Here are selected excerpts, but the full essay is worth the read: 

A "Paradigmatic Shift"

What is now happening in art education is, quite naturally, a reflection of trends in other cultural arenas. In the opening pages of What Art Is, Louis Torres and I called attention to disturbing trends in the academic study of art history, for example.

As we noted, academic art historians–whose focus has traditionally been the visual arts of painting and sculpture (with an emphasis on those works considered to be of particular esthetic value and cultural significance)–increasingly believe that no works are "more deserving and rewarding of attention" than any others. In addition, many claim that the "so-called key monuments of art history" are worthy of study only for what they reveal about unacknowledged sociopolitical "agendas and investments." We also noted the growing tendency to interpret art and culture solely in terms of the contemporary politics of division–with its emphasis on issues of race, class, gender, and ethnicity; that divisive tendency is exacerbated by growing doubt that there exists any such thing as a common American culture.[1]

Finally, we cited the astonishing recommendation by some art historians that they should now concern themselves broadly with "visual culture"–in particular, with "images that are not art"–in other words, that they should ignore the very distinction between art and ordinary imagery that lies at the base of their discipline.

Such notions have made their way through the educational system with breathtaking rapidity. Coupled with an already widespread "multiculturalist" emphasis, they are compromising every level of education in the visual arts. What is underway is nothing less than a "paradigmatic shift, a redefinition of content and practice in art education" . . .

  The "Postmodern Trap"

A key factor in the shift to visual culture studies has undoubtedly been postmodernism–which has all too swiftly gained wide currency among art educators, as in the artworld itself . . .

As lamented by one dissenter, John Stinespring, postmodernism is now "all the buzz" among art teachers. Offering a well-articulated contrarian view, in an NAEA session entitled "Moving from the Postmodern Trap," Stinespring argued that postmodernism is governed by a series of major fallacies, which teachers have uncritically accepted. They include:

• an "ever-broadening definition of art"
• the acceptance as of equal value anything put forward as art;
• the rejection of all standards of qualitative judgment;
• the denigration of individual creativity and originality;
• an emphasis on "multiculturalism" at the expense of the personally meaningful;
• the insistence that all art makes implicit or explicit statements about socioeconomic or political issues –  with the implication that there is only one "right" position on each issue, invariably to the left of center.

Echoing a concern expressed several years ago by the prominent Stanford University educator Elliot Eisner, Stinespring strongly objected to postmodernism’s tendency to make art a "handmaiden to social studies" . . .

"Visual Culture" vs. Art Education

The tendency to make art a handmaiden to social studies is glaringly evident in the visual-culture art education movement. This tendency should be of concern even to those who place no great value on the arts as such, for underlying it is a fundamentally political agenda for "social reconstruction," in which teachers of art will presume to enlighten (more often indoctrinate) students regarding complex social and economic problems. Predictably, it is a direct outgrowth of the politically inspired "multicultural" emphasis Torres and I were critical of in our discussion of art education programs in What Art Is. . . .

Evident throughout the visual culture movement, then, is a fundamental lack of understanding or appreciation regarding the distinctive nature or value of art. Desperately seeking to be socially "relevant," art teachers who have never sorted out the contradictions of either modernism or postmodernism have so confused an idea regarding the nature of their proper subject matter that they are easily seduced by urgent claims of the need to train students in "visual literacy," to enable them to detect the powerful subliminal messages conveyed by popular and commercial culture.

A Lesson in Misinterpretation: Teaching Visual Illiteracy

"Visual literacy" may well deserve a place in the school curriculum, as visual culture advocates insist, but it should not be confused with "art education." Nor is there good reason to think that art teachers are the best qualified to pursue it. Indeed, there is disturbing evidence to indicate that some of the leading proponents of visual culture studies are not at all qualified for the task. A case in point is the article "Multicultural Art and Visual Cultural Education in a Changing World" by Christine Ballengee-Morris and Patricia Stuhr (Art Education, July 2001) . . .

To begin with, though Ballengee-Morris and Stuhr refer to the "unique contributions of individuals from diverse groups," and they advocate multicultural education as a means of "providing more equitable opportunties for disenfranchised individuals and groups," their main focus is not on individual self-realization but on group identity and biological and cultural determinism. Their account of "personal cultural identity" cites such factors as age, gender, class, religion, ethnicity, and racial designation, for example, but says nothing about the role of personal choice in diverging from the group identities one is born into, much less of the role art can play in the forging of a personal identity. Their bald assertion that "National culture is primarily political" further suggests that, though they advocate "multiculturalism," they fail to grasp the essence of American culture–its profound individualism.[4] Moreover, their premise that "making and interpreting . . . art" can in itself "disenfranchise" anyone plays fast and loose both with the nature of art and the concept ofdisenfranchisement–which means "depriving someone of legal rights or privileges." . . .

Source:
http://www.aristos.org/whatart/arted-1.htm
What Art Is Online is a supplement to What Art Is: The Esthetic Theory of Ayn Rand by Louis Torres and Michelle Marder Kamhi (2000). The above article relates to the section "Teaching the Arts to Children," in Chapter 15: "Public Implications." Slightly revised versions of this article were published in The Objectivist Center’s Navigator (February 2003); and Arts Education Policy Review (March/April 2003).

A quick search through online art stores turned up these other multicultural art supply gems:

Crayola Multicultural Colored Pencils Set of eight skin-toned colors, art quality, in an easel pack.	Crayola Multicultural Crayons Crayola Multicultural Crayons are expressive colors specially designed for hands-on learning about self, family, and community. Apricot, Burnt Sienna, Mahogany, Peach, Sepia, Tan, Black and White. Crayola Crayons are famous for rich, vibrant color.
Crayola Washable Markers Multicultural Set Crayola Classic Washable Markers wash from skin and nearly all children’s clothing! Specially selected color sets make drawing more fun. The multicultural set includes Golden Beige, Tawny, Terra Cotta, Beige,Tan, Sienna, Bronze, and Mahogany. Broad tip.	Crayola Washable Paint Multicultural Colors A paint that washes from skin and most children’s clothing. Crayola Washable Paint is heavy-bodied, and will not chip or rub off. 8-Color Multicultural Set features the skin tones of the world.
SChenille Kraft Stems in Multicultural Colors Chenille Kraft Stems in Multicultural Colors are sold in packages of 100 in seven skin tone colors.	Ceativity Street WonderFoam Sheets in Variety Color Packs Create faces or figures with easy-to-cut foam pieces. This 10-sheet package includes three sheets each of peach, tan, and brown, and one of dark red.
Creativity Street Wood Craft Stick Shapes This package of 18 boy and 18 girl shapes is ready to come alive as children decorate them. The possibilities are endless as they use markers, paint, yarn, glitter, and more. Use them in geography and cultural diversity lessons.	Liquimark Global Colors Marker Set This set of eight broad-tip markers represents a collection of international cultural skin tones. Colors include Ivory, Cream, Sand, Rose, Butterscotch, Cinnamon, Mahogany, and Ebony.
Roylco "All About Me" Felt Figures Give each child a doll to decorate! Each felt cut-out is 6" tall. Package of 24 contains three each of eight different skin tone colors.	Pacon Multicultural Construction Paper Pacon Multicultural Construction paper includes ten creative skin-tone shades for multicultural curriculums, reflecting the variety of skin color found around the world.
Roylco African Masks Masks are a popular tradition in many cultures. African masks were worn for celebrating victory, to ward off evil, and for storytelling. Masks measure 11" × 15" (28 cm × 38 cm) and come in packages of 20. Simply punch out, fold, staple, and decorate.	Roylco Eyeball Stickers Repositionable, self-adhesive Roylco Eyeball stickers in a variety of shapes and colors for ethnic diversity. Large — 150 per pack. Small — 240 stickers per pack.
Roylco Paper Doll Pad Decorate Roylco Paper Dolls with crayons, markers, or glue on clothing from scraps of fabric and yarn. Use Design Paper for exotic cultural outfits. Each pad contains eight different skin tones.	Roylco Multi-Cultural Face Forms Multi-Cultural Face Forms are designed for papier maché and clay. The easy release molds are made from see through plastic. Five ethnically diverse characters are available, each beautifully realistic.