Discusses formalist/universalist, personal response/ antiformalist, and pluralist approaches to aesthetics. Recommends using a pluralist approach because it accounts for the aesthetic principles of non-Western art forms. Discusses pluralism in art education and how the criteria of Western aesthetics are now being challenged by art educators. (KM)

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…

Maintains that teaching the creation of art can be lost in the emphasis on discipline-based art education. Argues that much of art education is studying the art of others or the concepts and principles that can be derived from others. Contends that the process of personally creating art must be revived as an integral part of art education. (CFR)

Describes how children six years and older can create plaster friezes. Children were first shown examples and then drew plans before creating their own friezes. (KM)

Describes how artist Betye Saar collects technological debris that she manipulates to create her artwork. Compares her work with African art which has a long history of transforming materials from the environment into symbols and objects. Suggests activities for students to create art with debris from their environment. (KM)

Describes the origins of the Peruvian Nazca Indians double-spouted jugs. Provides a lesson plan so students can create their own double-spouted jugs. (KM)

The California Art Education Association (CAEA) has outlined guidelines to help administrators, teachers, and others responsible for determining the acceptable content of visual arts courses offered to meet California's state graduation requirements or entry requirements into a state university. Emphasis for visual arts courses should be on the…

Describes a specialized school for the arts for high school students. Discusses courses in ceramics, metal working, photography, advancement placement in studio art, and art history. Explains the relationship between this specialized school and the surrounding high schools that these students attend for other subjects. (KM)

Describes art education in elementary schools in Japan and the content of their art textbooks. Maintains that the challenges of developing skills, making choices, and learning about the artistic heritage that are offered to Japanese children also should be offered to U.S. children. (KM)

Evaluates the state of art education in light of the National Endowment for the Arts Report, "Toward Civilization." Cites rationale for arts education and makes recommendations for accomplishing the Report's programs. Suggestions include a sequential curriculum, comprehensive testing, improved data gathering; recruitment of outstanding…

Portrays the spiritual and natural content of Haitian art, illustrates a characteristic cut-metal sculpture, and lists highlights of Haitian art history. Suggests activities for elementary and secondary students designed to help them understand art forms that provide insights into the myths and mysteries of other cultures. (KM)

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.…

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,…

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)

Presents a simulated dialog among an art teacher, a school principal, and a school board member on student evaluation. Discusses issues related to the evaluation of art products as opposed to evaluation of student learning in art history and art criticism. Outlines issues of evaluating student creativity. (CFR)