Tired of hearing grumbling and moaning when it is time for critiques? It has been the author's experience that students do not do well in critiques because of two main things: (1) being shy about displaying their work; and (2) not knowing the right vocabulary to use to support their like (or dislike) of others' work. In this article, the author…

This descriptive study investigates the bases used to support judgments of artworks by preservice art teachers at two large universities. Bases art teachers might use to judge artwork range from personal preferences, to cultural expectations, to criteria drawn from values of various artworlds. The 26 preservice teachers in this study used a…

This collection of lessons is meant to be a practical guide to help teachers engage children in art criticism. The lessons generally follow a similar format. Most suggest an age group but may be modified for use with younger or older students. Several authors suggest variations and extensions for lessons that include studio activities. A broad…

People are immersed in visual culture and, therefore, are usually not aware of how power and privilege are enacted and how they operate in works of art from past and present times. Two premises infuse individuals' thinking on visual culture. First, that an activity-based approach to its study seeks to recognize how power and privilege function in…

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 publication contains proceedings of a seminar structured around five basic themes: (1) cultural diversity in education; (2) discipline based art education (DBAE) and cultural diversity; (3) how cultural diversity has affected practices in art history, aesthetics, criticism, and art making; (4) experiences in other disciplines which effect…

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 teacher's guide gives directions, models, and illustrations for 24 games in art history, criticism, aesthetics, and art production. The games present specific art concepts and vocabulary based on clearly stated objectives and they can be adapted to a variety of lesson types. The goal of each activity is to encourage students to engage in…

This guide is intended to aid local elementary and middle schools in Idaho as they improve and expand art instruction for their students. This model is built around discipline-based art education and allows students to experience art aesthetics, art history, art criticism, and art production. This is a sample and is not considered to be…

This text is designed for use by college and university students who plan to teach art to children. After an introduction that briefly explains the four components of discipline-based art education, the text is organized in six chapters. (1) "Artists and the Images They Make" introduces students to ideas about how several specific…

This document is the secondary level visual arts component of the North Dakota Arts Curriculum Project. After a presentation of the philosophy, goals, and objectives for the visual arts program, the guide is organized into four sections. The first section, "Visual Arts Program Components," presents an overview of educational…

Asserts the importance of incorporating art criticism into art instruction to achieve quality art education. Presents and discusses art criticism formats. Includes three figures illustrating a typical student's written art criticism, that same assignment after teacher evaluation, and an example of a student gradebook. (CFR)

Asserts that aesthetic questions and aesthetic understanding provide the framework for learning in art. Contrasts formalism (the belief that art exists for its own sake) with contextualism (the belief that art is part of a social communication system). Maintains that a balanced art program should incorporate both approaches. (MJP)

Asserts that neither of the two most popular models of art criticism lends itself to a postmodern understanding of the political role of visual art in the late 20th century. Concludes that the historical context model is rooted in historical understanding and that teachers must prepare for this type of instruction. (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)