Describes Getty Center for Education in the Arts, which espouses the ideas and skills of art production, art history, art criticism, and aesthetics and involves four activities related to the visual arts: (1) creating art, (2) perceiving and responding to art works, (3) understanding the place of art in culture and history, and (4) making reasoned…

The author describes how he impersonated Michelangelo while presenting a Renaissance art unit to his seventh- and eighth-grade class. (SJL)

Describes six activities for art education. Art activities include seventh-grade fanciful animal drawings, a Picasso month in a high school district, and a parent-child art workshop organized by gifted, elementary children. Career education activities include a student-run exhibit, student-curator jobs in an art gallery, and a career day. (AM)

Discusses the history of modern art and the emergence of post-modernism, assessing the implications for art education. Stating that viewers must be culturally literate to comprehend post-modern art, Parks argues that discipline-based art education will better prepare students to deal with the images, issues, and ambiguity they will be confronted…

This paper discusses the ideas of Conrad Fiedler, a 19th century German philosopher of art, concerning art criticism, or the judging of works of visual art. In addition to a brief biography of Conrad Fiedler, the paper's main subject is Fiedler's ideas on art criticism as expressed in his book "On Judging Works of Visual Art" (1876,…

Describes an art instructor's alternative to lecture in an art survey course; i.e., minidramas providing characterizations of well-known artists. Suggests that other disciplines can use the model effectively. Indicates that the approach increases student interest and participation. (DMM)

Described is an art activity that involved secondary students in studying the history of American Indian wood carving and then making their own totem wooden sculptures. (RM)

To introduce a secondary school sculpture class to art history, the students created a modern version of an Egyptian mummy of Pariscraft. The mummy was painted in traditional Egyptian colors, but the symbols represented the high school where it was produced. (IS)

Suggests that observing, photographing, and discussing local buildings and places can help students form opinions about the built environment, the art form they experience most of the time. Presents some teaching ideas from existing photography-in-the-built-environment projects in Britain and the United States. (Author/SJL)

Questions the use of professional artists as appropriate role models for students learning about art making in the classroom. Examines a biography of one artist and reviews research on the psychological and social circumstances that facilitate art production. Suggests that the creation of those circumstances in the classroom would be complicated.…

A fact-oriented handbook examines the overall picture of the educational and training opportunities for artists in the Federal Republic of Germany. Because of space limitations, this document presents a few typical examples of arts curricula rather than the total curriculum for the different types of schools in the 11 federal states. Subjects…

Zoo Day was one of the culminating activities of Art Extravaganza, a pilot summer art program for high ability first-and second-graders. Field trips, art history lessons, box sculpture, and a study of cavemen were included. (SJL)

A general loss of concern for architectural type is most acutely felt in institutional buildings. A method for infusing history into design of public buildings in architectural education is explained and illustrated. (MSE)

The author's art instruction for young Egyptian children focuses on design, creative expression, and appreciation of Egypt's unique artistic tradition. This article is one of several in this issue on art education in other countries. (SJL)

The origin and development of two African saints are discussed: Saint Maurice, patron saint of the eastern empire of Otto I; and Caspar, the youngest of the three Magi. Their representation in German art is described and illustrated. (Author/LB)