Addresses the argument that the arts can empower education reform through two means: (1) teaching all children the arts and (2) teaching the arts as central to all learning. Conveys that by concentrating on aesthetic literacy and the nonuniversality of children's artistic development, arts educators will gain support for teaching the arts in…

The authors describe some of the applications of time-series, its advantages in applied work, and methodological issues of concern to researchers. (Author/SJL)

The 1964-66 art education conferences were the last serious attempt to involve professional artists and educators in arts policy planning. This is a call to the art education profession to end this communication gap through a conference to examine the nature of excellence in the education of visual artists. (Author/SJL)

Discipline-based arts education is systematic instruction in concepts and processes intrinsic to the visual arts and includes participation in the aesthetic, critical, historical, and productive activities essential to appreciating cultural values. The systematic character of the instruction permits accountability. Guidelines for such study have…

Reports on a three-day conference entitled "Creative Process in Education: Design for Quality Learning." Held at the University of Arizona in Tucson, the conference focused on integrating the arts into the elementary curriculum. Teaching ideas presented in workshop sessions are described. (Author/SJL)

It is hypothesized that graphic skills among the general U.S. population level off at puberty. Examined were the characteristics of 357 pairs of pencil drawings of human figures (one man and one woman) made by male and female adolescents (eighth graders), nonartistic adults (university elementary education majors), and artistic adults (beginning…

Discusses the findings of 13 sequential studies done by Project Zero on children's sensitivity to artistic styles. Research indicated that there is a developmental sequence in artistic perception. Young children could learn to identify artistic styles but often had difficulty connecting the original paintings with small reproductions used in…

This introduction to an issue devoted to the arts in secondary education raises the question of the justification of the arts in a cost-conscious, job-oriented school system and offers evidence of the positive impact of arts programs. (JM)

Contends that a community-based support group can do much to enhance the art education program in a school district. Describes the organization and goals of one such group active in Tucson, Arizona. (Author/JM)

The call for more empirical research in art education during the 1950s seems to be a precursor of the contemporary move toward more systematic instruction in the visual arts. If making art employs nonverbal aesthetic concepts, then conceptual consistency and problem solving within studio instruction can facilitate students' acquisition, retention,…

The Getty Center for Education in the Arts established the 1983 and 1984 Institutes for Educators on the Visual Arts to explore the introduction of discipline-based art programs into elementary schools. Teachers attending a summer staff development program planned programs for their own shools. The institutes are described and future plans are…

Images express meaning through particular configurations of visual concepts. A distinguishing feature of discipline based art education is the use of visual imagery to transmit meaning to students. Discipline based art education incorporates concepts and skills from aesthetics, art criticism, art history, and art production and presents a unique…

Defines aesthetic scanning, the perceptual activity that artists use when creating art and that connoisseurs use when contemplating it. Shows how to ask questions that elicit information about the sensory, formal, expressive, and technical properties of a work of art. (JDH)

This experiment compared six methods of teaching concepts of painting style. A practice-plus-verbal feedback teaching strategy (active condition) was compared to a strategy using modeled verbal response (passive condition). Each strategy was combined with three amounts of information: none, artist's name, and name plus style rule. (Author/SJL)

This study of third graders examined the relative effects, under two conditions each, of two teaching methods: modeling of the contour drawing process and presentation of predrawn examples. Analysis of children's posttest drawings for visual information content indicated that predrawn examples were more effective than modeling as a teaching…