What do 14 Year 7 students, an art teacher, a history teacher and the Victoria and Albert Museum have in common? They are all part of the "Stronger Together" Museum Champion project run by The Langley Academy and the River & Rowing Museum and supported by Arts Council England, designed to engage students, teachers and museum staff…

Is art merely an adjunct to the serious business of life? Is there a secret ingredient that makes some art more worthwhile than other art? Does art have something to offer that makes its pursuit or purchase worthwhile, or is it simply an outlet for spare capital? Does art really matter at all? (Contains 5 figures.)

Many aspects of the current cultural situation bode well for undergraduate art education. Today's college students have had more experience of the visual arts, at least in their vernacular forms, than any generation in history. They have watched thousands of hours of television, watched hundreds of feature films, and often have mastered computer…

This paper discusses how to teach art history in college level interdisciplinary courses. Today, art historians find themselves involved in teaching art history not only in art history curricula, but also in interdisciplinary studies, such as Ancient Greek Culture, Renaissance in France, and Women in Art. When teaching art history in…

Maintains that teaching the creation of art can be lost in the emphasis on discipline-based art education. Argues that much of art education is studying the art of others or the concepts and principles that can be derived from others. Contends that the process of personally creating art must be revived as an integral part of art education. (CFR)

Provides an interview with Ken Young, a retired art teacher, who in order to gain students' interest in art history impersonates various artists by researching their backgrounds and dressing up in costume. Focuses on why he began impersonation, his research on the artists, makeup, and his experiences with impersonating artists. (CMK)

The Perry scheme of student development, as determined by William G. Perry, Jr. and his associates at the Bureau of Study Counsel of Harvard University, is discussed. His nine levels of development include dualism, multiplicity, and commitment. A study by Mary F. Belenky showed that Perry's students were almost exclusively male, and she noted that…

Reviews Natalie Robinson Cole's contribution to the field of art education by contrasting her philosophies with those of other art educators. Compares her teaching style with Viennese art educator, Franz Cizek. Concludes that Cole's life and work can be examined within as many frames for understanding as can be devised. (KM)

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)

Questions whether art educators are using outmoded, traditional methods in a nontraditional world. Contends that teachers must be appreciative of art's eclectic nature and its ability to help students understand contemporary society. Asserts that the relationship between the art teacher and the student must be both active and reflective. (CFR)

Critiqued is the article, "Teacher as Shaman: An Educational Criticism," (Studies in Art Education, v25 n1), containing a case study of an art teacher who employs performance-based ritual to stimulate thinking about art's meaning and history. The problem that ethnographic researchers have conveying credibility when summarizing…

Examines studies, especially those of Viktor Lowenfeld, which suggest that coloring books are harmful to the creative expression of children. Proposes an alternative hypothesis that views coloring books as useful teaching tools to help children understand and appreciate art. Calls for further research into the issue. (KM)

This publication, an outcome of a 2-day colloquium in 1981, contains information about using artifacts (material culture evidence) as a primary source for teaching history at the graduate or advanced student seminar level. A purpose of the colloquium was to gather and disseminate this information for the Historians/Artifacts/Learners (HAL)…

Argues that teachers should replace art history instruction with efforts to build in children a love for beautiful old objects. Suggests that children should be encouraged to examine family treasures and toys and share their discoveries. Describes several suitable classroom games, including tablesetting history, history to wear, and traditional…

This essay explores "modernity's" influence on school art and on educators and researchers. It argues that the deep channels of modernity have cut fine arts away from the curriculum, isolating it on an island of professional practice and specialized study. A new approach would reinterpret art as popular, political, site-specific, communal, and…