Art teachers should be familiar with psychologist's research on human vision and perception. Research by Julian Hochberg, James Gibson, and Gestaltists is summarized. (SR)

A comparison is drawn between acquiring linguistic skills and acquiring creativity. It is suggested that aesthetic values have to be taught, that literalism has an important function in artistic development, that media can help to control and direct a child's attention, and that formulas impart a necessary competence. (Author/KC)

The author outlines four main orientations in the history of aesthetics and relates each to a specific theoretical orientation in psychology. He suggests that these four alignments can serve as categories for distinctive teaching traditions presented in the literature of art education. (SJL)

Art teachers and special education teachers should form a new alliance to become a new "dynamic duo." Because of the very concrete nature of art, children who have trouble with the abstract often find art experiences appropriate vehicles by which to understand and to learn. (Author/RM)

Reviewing some empirical studies on brain hemisphere functions, the author concludes that though the brain is lateralized for specific tasks, this fact has no necessary bearing on educational methodology. He asserts that we do not yet know enough to label and teach art as a "right brain" activity. (Author/SJL)

From a literature review and her own work, the author has assembled comments from elderly art students on why they participate in art classes, the kind of instruction they like, the style of art they like, and their creativity. Implications for art teachers of the elderly are discussed. (SJL)

This article presents an overview of new trends in museum education worldwide. (Editor/SJL)

During a visit to Williamsburg Elementary School (Williamsburg, Iowa), this author was introduced to J. C. Holz, a 10-year-old boy who had already exhibited the characteristics of a prolific artist. During one of the interviews with J. C., the author encouraged him to have a solo exhibition of his work at the University of Iowa. The exhibition was…

Examines postmodernist art and its impact on architecture and visual art in the United States. States that this genre of art has affected dramatically object art, such as furniture design. Contends that postmodernism can be traced through societal and personal histories. (CFR)

Argues that drawing in art is a visual, intellectual, and emotional act. Provides suggestions for helping students understand these three perceptions. Discusses the impact on curriculum design in art education. (CFR)

Reviews Pearl Greenberg's book on developing art programs for older adults. Finds it useful as reference for adult educators and those specifically involved in establishing art classes for older adults but lacking in its chapters on suggested art projects. (AEM)

Considers the true value of art by outlining a number of factors that determine the price of a painting including the fame of the artist, the time of the artist's death, and the age of the work. Concludes that students should be encouraged to consider the emotional, aesthetic, and intellectual worth rather than the monetary value. (KM)

Explores the sources of art criticism and reviews some extant pedagogical models. Outlines the content skills to be developed and the role of art criticism in a discipline-based teacher training curriculum. Recommends that art criticism should incorporate pedagogy and other disciplines of art. (KM)

Examines how current education reform reports reflect arts and humanities education. Maintains that the reports are marginalizing the arts and are advocating a back-to-basics approach. Points out that National Endowment for the Arts (NEA) tried to overcome this trend by introducing "basic arts education." (KM)

Describes a 1981 national survey of art education. Statistics include bachelor's degrees granted in art education in 1979-80, number of art teachers employed, and time allotments for elementary and secondary school art programs. Impact of state standards for art instruction and structure of art teacher training programs are discussed. (CS)