Based on concepts of discipline-based art education, this instructional resource presents art experiences which use a variety of media to integrate art across the curriculum. Basic concepts of art are introduced in the first five lessons. The remaining 14 lessons are aimed at developing knowledge and skill bases in art processes, skills, media,…

This book presents the ideas and premises that define the reformation called discipline-based art education, or DBAE. The volume identifies the contexts of art education that influenced this reformation and attempts to offer compelling reasons why art should function as a "basic" in the core discipline in education. The chapters in the…

This teacher's resource guide is designed to accompany resource packets that include fine art reproductions. The resource introduces students to the accomplishments and contributions of eight 20th century women artists: Isabel Bishop; Jenny Holzer; Kathe Kollwitz; Maya Ying Lin; Mary Ellen Mark; Maria Martinez; Alice Neel; and Faith Ringgold. This…

The art lessons presented in this teaching guide are concept-centered and integrate the four disciplines of art: art production, art history, art criticism, and aesthetics. Individual units are organized by the elements of art (line, value, texture, color, shape, form, and space) and the principles of design (balance, emphasis, contrast, variety,…

This paper suggests that by thinking about a number of parameters in art and of the array that each parameter suggests, curriculum planners might select, organize, and relate particular experiences with greater assurance that the curriculum will provide adequate and representative ranges of art forms, and address their underlying modes of thinking…

Smith replies to Matoba's earlier art/sports analogy (Art Education, v38 n4 p30-31,46). Smith's basic disagreement is that art is not a sport. (RM)

Discusses the founding, development, and issues surrounding the Barnes Foundation and its art collection, specifically designed for art education. Also discusses myths about Albert C. Barnes, the Barnes Foundation, and its relationship to the ideas of John Dewey. (CFR)

This kit looks at 10 works of art from ancient to modern times and explores their myths, histories, artistic styles, and stories about art and artists. The kit includes goals and background information, 10 slides with slide presentation, art and writing activities, 5 laminated reproductions, and a bibliography. Activities are related to the 10…

This digest discusses the symbiotic relationship between art and social studies and suggests ways to integrate the two in the curriculum. The document advocates the study of art in context as a way to help students better understand the historical past by the values reflected in artwork, as well as recognize the power and potential of art for…

Quilters have been practicing geometric principles for centuries. Since straight seams are easier to sew than curved ones, the grid naturally evolved as the basis for their designs. This book is a resource for experimenting with traditional patchwork quilt patterns. It provides students a hands-on understanding of geometric concepts. It contains…

A unit on Afro-American art was developed as part of the Reading Enrichment Art Development program. Elementary students from the program were concentrating on the concept of pattern in language. The unit was designed to reinforce this understanding via the reverse-fold pleating process used in a Nigerian tie-dye project. (AM)

In Cleveland, high school art majors explore art careers through a series of visits with working professionals in various fields of art. (SJL)

This book presents information about 10 areas of design, with the main emphasis on graphic design. One section presents the creative problem solving process and provides practice in using this process to solve design problems. Students are given a glimpse of other areas of design, including fashion, industrial, architectural, decorative,…

The results of an intensive study of sixth graders' perceptions about art are presented. It is increasingly apparent that students and their variations in perception, preferences, individual aptitudes, styles, personalities, and traits influence instruction and its outcomes as much as does the teacher. (RM)

If art reflects, transmits, and extends human culture, studio art should be taught in a socially conscious manner. A theoretical foundation and practical suggestions for implementing a socially-defined studio curriculum in art are presented. (RM)