In September 2008 the author created an encounter between herself and Rick Walker, the Director of Cartwheel Arts, a small community arts company in Rochdale, in the North West of England. As one of the three founding workers of what was then Cartwheel Community Arts in 1984, she hoped to create a conversation which recollected or traced some of…

Provides a brief background on current developments in aesthetics and the contested concepts of three approaches to aesthetics: (1) historical philosophical aesthetics; (2) aesthetic perception and experience; and (3) aesthetic inquiry. Concludes by proposing a fourth approach based on critical theory. (Author/BSR)

Discusses value of having Scottish students critique art collections throughout their country. Elaborates that this type of art appreciation consists of five major components: (1) critical activity, (2) history of art, (3) connoisseurship, (4) aesthetic experiences, and (5) production of art and design. (BSR)

Five reasons art education is important for all students are discussed. They are: (1) art as basic education, (2) creativity, (3) aesthetic experience, (4) art appreciation, and (5) historical understanding. (RM)

Finding "aesthetic experience" to be a difficult and paradoxical concept, the author argues that a social as well as an historical perspective may be a more beneficial route for the future of art programs in our schools. (Author/SJL)

Offers a rationale for teaching art history as an integral part of the K-12 curriculum. Maintains that art history instruction should begin in kindergarten. Includes sections on the relationship between art history, art production, art criticism, and aesthetics. (JDH)

Presents an interview with Elliot Eisner a scholar and researcher in both the arts and education. His work with the Getty Center for Education in the Arts has influenced a new structure for art curriculums. (Author/MD)

Discipline-based curriculum development efforts in art seek to translate Barkan's theoretical recommendations into practice. One such effort--the discipline-based art education framework of Greer--is discussed. (Author/RM)

Outlines the philosophical dimensions of aesthetics, devoting particular attention to the development of a rationale for aesthetics in the public schools. (JDH)

This article examines discipline-based art education (DBAE) issues for their origins, meanings, and implications. The issues are discussed within four general categories of conceptual structure, curriculum selections, research foundations, and organizational affiliations. (Author/JDH)

Details a scope and sequence for art education, emphasizing art criticism and aesthetics. It is presented as an alternative for the more common curriculum, which uses art production as a means to personal development. Notes that most teachers are more comfortable in teaching the "production end" of art rather than art criticism and aesthetics due…

The focus of discipline-based art instruction is on art within general education and within the context of aesthetic education. Four disciplines--aesthetics, studio art, art history, and art criticism--are taught by means of a formal, continuous, sequential, written curriculum across grade levels, in the same way as other subjects. (Author/RM)

Sets forth diagramatic representations of the four art disciplines (aesthetics, criticism, history, production) as a basis for devising a discipline-based art curriculum. Provides an example of an inquiry framework to guide the planning and application of instruction. (AEM)

Proposes an alternative to discipline-based art education (DBAE) called Aesthetic Response Theory (A*R*T*). Reviews problems of DBAE and outlines a curriculum based on the A*R*T* alternative. Concludes that the A*R*T* approach makes the serious study of art more feasible for classroom teachers. (BR)

This paper examines art instruction in elementary and secondary schools, focusing mainly on the major shift in theory and practice which began in the early 1960s. Offers a broad view of art and emphasizes the importance of discipline-based art education in the K-12 curriculum. (JDH)