The four content areas of discipline based art education (aesthetics, art criticism, art history, and art production) should be addressed in every art education unit planned and taught to students. All four content areas are addressed in the process of formal art criticism therefore every unit/lesson that utilizes a formal art criticism also…

Explores student assessment by portfolio approach as used in the Arts PROPEL project. Argues that the content of art knowledge is embedded in a process approach in which techniques, elements, formal analysis, and historical images can be explored. Observes that learning is an active process and teacher student interactions concerning the portfolio…

The primary purpose of this document is to provide Arizona school district administrators with guidance in planning, implementing, and evaluating visual art education programs. Topics include curriculum content, teacher preparation, professional development, facilities, and program and teacher evaluation. Instruction in visual arts should provide…

Profiles the Wilmette, Illinois, school district's experience when revising their art curriculum. Maintains that the art staff's commitment to revision is the motivating force, and suggests an outline for a revision plan. Outlines curriculum writing procedures, the contents of an art curriculum, and the advantages of curriculum writing. (KM)

This guide was designed to provide a sequential art program for grades kindergarten through 12 and to assist teachers and administrators in maximizing the use of available resources. The program also reflects recent trends in art education that encourage the development of understanding and appreciation of art heritage, aesthetic perception and…

Instructional goals and sample instructional objectives for art education in West Virginia's public schools are outlined. A comprehensive arts education program is basic to the general education of every child. Two guiding principles directed the programs' design. First, each student should have opportunities to acquire skills in the four…

Contends that, as rapid social change and new technology change society, aesthetic considerations become more important. Discusses issues related to using computers and other educational technology in art education programs. Concludes that the overall importance of art education will increase with the expansion of the information age. (CFR)

Contends that the role of the arts in human education and development is essential. Describes an elementary curriculum project that integrates economics and art education to study visual images of U.S. business. Includes three descriptive figures, a table of subthemes and visual art images, and a sample lesson plan. (CFR)

Asserts that content-based art education, which is dominated by discipline-based art education at the elementary level, is also represented by a secondary model developed within the International Baccalaureate Program. Maintains that the program provides a content-based structure and fosters thinking skills, creativity, and critical appreciation.…

The intent of this document is to provide local school districts with a guide to current knowledge in the visual arts, such that by using the guide, districts should be able to develop their own curriculum documents tailored to the needs of their students. The basic premise of the guide is that each student in the state of Arizona should have…

Discusses three types of distance in art education that should be bridged: (1) between studio art and art criticism/history; (2) between thinking in images and thinking in words; and (3) between art and culture in cognition. Recommends a curriculum to integrate studio work with criticism and teach art along with culture. (CFR)

This curriculum framework presents a philosophy of arts education, synthesizes current research, and sets learning standards for students from kindergarten through 12th grade in the Commonwealth of Massachusetts. The curriculum framework's core concept is that experience in the creative process is essential for all learners, and that, in the arts,…

Asserts that art history and art criticism have not met the needs and aspirations of female students. Maintains that teaching embroidery can help teach about a history of female oppression. Describes how this approach is used in the classroom. (CFR)

Presents an art education model based on Elliot Eisner's three-domain model, emphasizing students' concept ownership and skill development. Criticizes late-modernism influenced practices, arguing creativity can be achieved only through tradition. Diagrams relationships between what art students learn in college and how they later teach. (KM)

Maintains that computers have provided a creative device for image creation and enhancement for visual arts educators. Traces the development of educational technology in art education from the 1940s to the present. Describes a four-part "visualization center" that will be the center for art education programs in the future. (CFR)