The author examines the nature of metacritical writing as a distinct form of inquiry within the literature of arts education. He makes a number of generalizations about such writings and maintains that there are several logically distinct kinds of tasks which writers undertake when they theorize about art criticism. (Author/SJL)

Contends that the concept of description educators present in their art criticism models differs from the concept of description in ordinary language; instead, it is a technical concept borrowed from the literature of aesthetics. Delineates differences between each concept, describes how the confusion arose, and discusses implications for art…

Like most efforts at educational reform, initial proposals for the teaching of art criticism represented a promising direction for practice rather than a fully developed educational plan. Educators during the 1950s and 1960s, who first proposed art criticism as an alternative to studio work, viewed it as a remedy for a number of problems with…

Addresses three questions to characterize the discipline of art criticism and delineate its role in instruction: (1) What is a discipline? (2) In what sense is art criticism a discipline? and (3) How, specifically, is art criticism to inform educational practice? Links this discussion to assumptions in Discipline-Based Art Education. (DSK)

Points out shortcomings of instructional methods derived from art criticism, viewed either as a set of procedures for critiquing artwork or as metacognitive principles for reflective thinking about artwork. Proposes a model of critical-inquiry instruction based upon three instructional activities: personal response, student research, and concept…

Argues that current models of art criticism distort the actual discourse of critics and force educators to rely upon a problematic instructional method: classroom recitation. Suggests that critical inquiry, rather than critical discourse, is a more fruitful concept for structuring art criticism instruction and proposes a model based on this…

Describes "the world of the work" as the state of affairs an artist projects, including what is suggested and inferred as well as what is represented directly. Discusses how teaching "the world of the work" concept to preservice art teachers enables them to access the representational content of artworks. (CMK)

Identifies the essential features of critical inquiry and shows how it differs from the critical procedures often recommended by educators. Explains the implications of the inquiry process for teaching criticism. Provides a model of critical-inquiry instruction by suggesting three basic instructional strategies for teachers and describing an…