A key educational objective for the twenty-first century is developing students' epistemic agency. Epistemic agency is the active process of choosing when, what, where one learns and how one knows, as well as the capacity to create knowledge in a community. The knowledge-building communities model developed by Scardamalia and Bereiter was used in…

The content of the Art History component in the General Knowledge in Art subject studied by various Senior High Schools in West Africa is largely of foreign art histories at the expense of the histories of African indigenous arts which are shallowly presented in the teaching syllabus to be taught students. This makes the students appreciate more…

Presents an informal discussion with composer John Cage which includes his response to George Maciunas' work, his recollections of Marcel Duchamp, the complex relationship between inelegant material and revealing works of art, neo-Dada and neo-Fluxus, Wittgenstein and the artist's ultimate responsibility to initiate a change in the viewer or…

This third report from a project conducted by the Getty Art History Information Program presents results of interviews conducted with visiting scholars regarding their experiences searching DIALOG databases, the role the searching took in their research, and their attitudes about the future of online searching in the humanities. (LRW)

Presents an interview with a South African artist, Elitia Hart, who uses the technique called pewter embossing. Focuses on her background, why she began using the pewter technique, the history of this technique, and teaching. Includes a project about how to create a decorated bottle. (CMK)

Presents an interview with Susan Snyder, a ceramic artist who produces pottery inspired by Italian designs from the 13th to 18th centuries. Presents her discussion of topics such as her development as an artist, techniques used when creating her art, and her thoughts on the importance of art education. (CMK)

Presents six position statements for developing a multicultural arts curriculum. Suggests strategies for implementing curricula and resources for gathering community information. Provides examples of implementation, including a sample interview to use with artists and sample questions to ask students when analyzing works of art. (KM)

Contradictions in the literature abound concerning Franz Cizek's role in fostering creative art. Researchers should turn to student recollections to determine what Franz Cizek's contribution to art education really was. A former Cizek student who today is prominent in design work is interviewed. (RM)

Maintains that many contemporary artists of color are not included in major art history textbooks. Describes how the author's two children designed a study to identify and interview three ethnic artists who have made contributions to U.S. society. Presents excerpts from an interview with J. Eugene Grigsby, Jr. (CFR)

A course focusing on the avant-garde epoch and presenting an in-depth look at the arts of the period is described. Peer instruction, individualized instruction, experiential learning, and contracts were incorporated into a traditional lecture format. Student characteristics and attitudes were monitored. Course successes and problems are outlined.…

Describes oral history interviews conducted with artists and writers involved in New Deal arts projects. Describes the collections, analyzing biases and selection factors. Examines participants' attitudes toward government sponsorship of the arts, finding general approval of government patronage. Suggests that these oral histories help document…