Different and competing conceptions of knowledge have recently been the focus of debate in education, especially art education. The cognitive science conception of knowledge as information processing and storage in long-term memory is especially prominent in educational policy. By contrast, within writing that is directly about art education,…

Ralph Pearson's Design Workshop was a center of progressive art education in New York. However, based on the correspondence courses that he developed, he was able to reach artists and art educators across the United States. Women artists and art educators dominated his courses and went on to play an important role in spreading progressive art…

African American artists have participated in every major art style and movement since before the founding of this nation. However, until recent decades, this "grand epic" had been marginalized within the traditional survey canon of American art. Art historians have undertaken considerable scholarship (Bearden & Henderson, 1993;…

Art and design students in higher education often prioritize design skills over written communication. With the opportunity to restructure courses around increased asynchronous flexibility arising from the COVID-19 pandemic, the author of this manuscript (who is also the course instructor) has developed a hybrid-blended course design in the art…

This article investigates the ways in which drawing is taught and assessed in post-16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From…

Contextual studies (CS), "theory", "visual culture" or "art history" (amongst other labels) refer to a regular and often compulsory feature in art and design education. However, this takes many forms and can sit in a variety of relationships with the practical elements of such courses. This article is based on mixed…

Five- and six-year-olds know a lot about their own homes. Besides school, home is probably where they spend most of their time. But have they ever really thought about their space? Using students' knowledge of their current space will help them design new spaces and think about all the areas that surround them. In this project, students design…

Plasticine clay is a bendable material that is easily manipulated by students of all ages. It is a great material to work with because it does not dry out from day to day, so high-school students can work on an extended project. They do not have to worry about the clay drying and cracking, and the entire work of art does not have to be completed…

To be effective and relevant in twenty-first-century learning, art needs to be more inclusive. In this article, the author discusses how teachers can find a good example in Leonardo da Vinci for building an art program. His art, design, and curiosity are the perfect foundation for any art program, at any level. (Contains 3 resources and 3 online…

ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi-user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS…

During each of the holiday seasons, the author tries to come up with a lesson that will incorporate art history and have a holiday theme. One recent winter-holiday season, the author was thumbing through a catalog and saw a picture of note cards that had famous artists' stockings hanging on a mantel. This triggered an idea for the author's…

There is a dominant history of art and design education in Britain. This has been established by five books published in the 1960s and 1970s. They are Quentin Bell's The Schools of Design (1963), Gordon Sutton's Artisan or Artist(1967), Richard Carline's Draw They Must(1968), Stuart Macdonald's The History and Philosophy of Art Education (1970),…

Examines some problems in teaching art history to students in a fine arts program. Argues that art history should be taught as the history of recurring artistic problems. (Author/RKM)

The authors examined use of a bipolar scale containing ten descriptors of basic art concepts (e.g. "linear-painterly") identified by Heinrich Wolfflin for analyzing paintings. They found that both trained observers (art history students) and untrained observers (psychology students) could apply Wolfflin's concepts reliably to Renaissance…

Discusses an art exhibit, "The Age of Armor," presented by the Higgins Armory Museum (Worcester, Massachusetts). Includes the itinerary for the exhibit. Provides background information on armor as an artform and examples of armor. (CMK)