Considers what discipline-based art education (DBAE) teaches through its implicit characteristics and basic assumptions. Argues that DBAE should not be evaluated in terms of any one curricular model because there are many possibilities for its presentation. States that DBAE does not need to present standardized content or limit study to artistic…

The questions that teachers ask students are often not the best types of questions for initiating an art dialog. Classroom discussions require an open atmosphere and properly constructed questions. Examples of effective and ineffective types of questions and appropriate and inappropriate teacher responses are provided. (IS)

Comments on the negative aspects of discipline-based art education (DBAE), focusing on standardized instruction and testing. Criticizes the designers of DBAE for using a technocratic, rationalistic model of education. Expresses concern that DBAE evokes identical student responses, rather than the diverse outcomes that should be the goal of art…

Aesthetic perception must be taught if we expect students to use it. Within a given society, the creators and viewers of art are socialized to more or less agreed upon aesthetic codes and conventions. (Author/RM)

Considers the impact of testing on art education if it is conducted as a means to legitimate art studies. Concludes that some new art programs may be buying into a system that has produced an educational structure which alienates young people. Concludes that testing will contribute to lower levels of cognition. (GEA)

Discusses six instructional approaches to aesthetics: (1) historical-philosophical; (2) cultural literacy; (3) aesthetic inquiry; (4) social-critical consciousness; (5) cross-cultural and multicultural; and (6) aesthetic perception and experiences. Examines instructional applications of these approaches, assess their flexibility for classroom…

Outlines six instructional approaches to aesthetics and discusses the instructional applications of these approaches. Assesses their feasibility for classroom practice and places them in relation to established educational rationales. Considers multicultural aesthetics, humanist applications, populist applications, studio instruction applications,…