In an era that is rife with aggression and hostility, most art educators hold close to their hearts the belief that they, and their students, can contribute to making the world a better place. Through their acts as teachers and the daily work of art education, they often strive toward creating a space of "non-violence." For K-12…

A theory of art education is suggested which is likened to the facets of Rubik's cube. The parts of this theory include understanding the value of art in education, giving visual form to ideas, responding to visual information, planning and teaching, and evaluating art learning. (IS)

Asserting that elementary classroom teachers want and need specific, inexpensive, practical art projects and that art educators in teacher education should supply such projects and ensure their aesthetic and philosophical soundness, the author describes a scheme for generating a year's worth of such activities for each grade level, K-6.…

The concepts of fine and popular art are relative, and the distinction between the two is slight, if not illusory. Examples of both should be used in aesthetic education classes. (RM)

Art teachers should view themselves as part of the total organizational structure of schools with art curricula written in the same form and with the same degree of specificity as that of other disciplines. Art teachers must invite scrutiny and use accountability to develop support for their programs. (RM)

Alberta's (Canada) new 1984 elementary art curriculum, which is described here, has as its central focus the child as artist. It is concerned with having children think and behave as artists. (RM)

Examined are inadequacies of the eclectic or contextualist classroom principle, defined as a philosophy of art education which selects scholarly art content offerings related to the production, criticism, and history of art as it relates to the school environment or context present in a particular time and place. (RM)

In open letters to the faculty affairs committee, an art education department chairman attacks the aesthetic approaches being used by a lecturer in art education to teach elementary education majors, and the lecturer defends his deemphasis of crafts and projects with R. G. Collingwood's philosophy in "Principles of Art." (SR)

Art teachers should create individualized learning programs for their students. Such art programs can assure personalized programs for disabled students and elevate the development of basic skills in art, artistic expression, and art appreciation. (Author/RM)

By focusing on the pleasure to be gained through art and limiting, insofar as possible, the pain inherent in growth in any discipline, we have unwittingly fostered the notion that anyone can teach art and that student art need not strive toward any standard. This demeans art and art teaching. (IS)

The focus of five articles is the impact of the computer on art and art education. Included is a discussion of the need for computer literacy among art students, computer graphics as a new subject matter and as an art technique, computer managed instruction, and creative computers. (RM)

Responds to Enid Zimmerman's article, "Questions about Multiculture and Art Education." Argues time and resource limitations dictate that teachers determine art curricula. Maintains that other examples of fabric art can teach what the NAMES project (AIDS Memorial Quilt) offers without the controversial perspective. (KM)