This article describes Mr. Jewel's art history class--one of three art history classes whose curriculum organization, teaching methods, geographic range of materials, and level of content abstraction were studied using the educational criticism approach. Mr. Jewell's activities as a role model emerged as the major focus of this observation. (SJL)

Discusses problems in the teaching of art history to art students. Reports on a study in which student analysis and categorization of their own paintings and paintings of other artists became the primary activity of an art history course. Concludes that this approach enhances the use of art history as a source for students' own creative work. (CFR)

Expressing concern that interest in hand lettering and calligraphy has diminished due to limited career applications, seventeen U.S. master calligraphers who teach or have taught calligraphy were interviewed. The calligraphers made six suggestions that have implications for educators: (1) italic based alphabets, rather than the current forms of…

Examines why art and design educators resist the modularization of degree-level courses. Identifies key characteristics of art education in England through an ethnographic study. Discusses government policy and rationales for modular and integrated courses. Concludes that the holistic approach to education allows students to expound and develop…

For art to become a discipline of study in the schools, art programs should be structured in ways that benefit the majority of students, not just a talented few, and must contain substantive content sequenced across all grade levels in a written curriculum. The development of discipline-based art education started in 1965 with the Pennsylvania…

Reviews the evolution of Discipline Based Art Education (DBAE) since its inception in 1984. Asserts that DBAE has had a major impact on art education and now is influencing the performing arts as well. Recommends that DBAE principles should be applied to all of arts education not just the visual arts. (CFR)

Describes how an elementary classroom teacher discovers and explores the power of aesthetic experience in an educational context. Discusses how the artwork of Vincent Van Gogh helps an exceptionally difficult class of 11-year-old female students in suburban Dublin, Ireland, become interested in their education. (KM)

This paper describes a microethnographic pilot study describing, analyzing, and interpreting how culture is transmitted and retained in one Navajo public school system. The study is both historically and educationally significant because it presents a portrait of the everyday realities of art teaching and learning in a school system during a…

Compares "School Arts" Teacher Viewpoint Surveys of 1990 and 1979 under the headings who responded, students served, what is taught, program enrichment, problems, the artist-teacher role, other professional participation, and curriculum concerns. Describes additional responses to current trends, including multicultural education and…

Reports on a study of 815 elementary and secondary students and adults on the types of evidence referred to in art historical interpretation. Finds that participants referred to four general types of evidence: (1) artist; (2) viewer; (3) culture; and (4) perception. (CFR)

This report recounts the findings of a study of people who purchased "Looking into Painting" materials, a learning package developed by the Personal and Cultural Education (PACE) Sector of the Continuing Education area in England's Open University. The package is not part of any course of study leading to a qualification, and there is no…