This article is based on nearly 25 years of working with and studying folk art and folk artists. While certified art educators and their university teachers may think they are inclusive in their understandings about art and learning processes, generally speaking, they are either unaware or tend to ignore folk artists' ways of understanding the…

Examines the social and cultural conditions in which U.S. art education was constructed, considering the social interests that underlay its formation. Traces curriculum theory from around 1870 to the present. States that the history of curriculum involves a story of social transformation, political interests, and economic agendas. (GEA)

Practices intended to promote equity, reproduce inequity. Theories based on belief in individualism concentrate attention on individual differences, removing social differentiations. Being concerned with the formation of common culture, art educators present aesthetic objects as culturally neutral, devoid of the context from which they were…

Asks how art should be taught in the postmodern world. Argues that art education must change in two ways: (1) discussions of fine art must focus on the meaning of postmodern art and concepts; and (2) incorporating postmodern concepts to address the broad range of visual culture encountered by students. (DSK)

Art education has emerged in relation to a number of cultural influences. These influences framed school art in terms of four strands of purpose. The first strand is the use of art education for developing skills for a labor market. The second strand views the purpose of public access to art as cultural education and a leisure time activity for…

Discusses three issues pertaining to the use of interactive graphic hardware and software in schools: (1) computer graphic production processes; (2) the social dynamics of computer graphics production in school; and (3) the qualities of imagery. Concludes that art educators must consider what particular art concepts could and should be taught…