Carnegie Mellon Online has been used to deliver several university courses to thousands of students at Carnegie Mellon University (Pittsburgh, Pennsylvania) over the last 2 years. This paper describes the experiences gained from redesigning an introductory art history course using Carnegie Mellon Online to deliver supplemental course content. The…

Although multiculturalism is praiseworthy, there are various foundational, conceptual issues that art educators need to think about with care and caution. In order to address these issues, this paper describes some personal experiences that impact on the implementation of multiculturalism in the schools. The paper begins with an analysis by T.…

Some art educators believe that art should be studied for its own intrinsic value, while others believe that art instruction provides instrumental outcomes that are valuable beyond the acquisition of art knowledge and skills per se. This latter group of educators, known as instrumentalists, believe, for example, that the study of art promotes…

The way archaeologists use tools and draw inferences about them to disembed meaning from artworks is examined. The prehistoric rock paintings of the Lower Pecos River (Texas) are used to illustrate these ideas. An overview of this rock art, specifically the Amistad reservoir, is provided. The deductions of archaeologists about the semi-nomadic…

A naturalistic inquiry took place in a 7-week university-sponsored drawing-painting course for 9-12 year olds. Explored were the perceptions of the participants in an art curriculum, particularly those of the students and teacher in relation to program goals and parent views. Perceptions related to art, art processes, art products,…

This series is intended for music educators and features speeches and articles by leaders in music and arts education on a wide variety of current issues. This publication deals with defending the role of arts education in the public schools and recognizing important issues involved with the quality of present instruction. It warns of the…

Although computers have become an important part of the secondary education program, they have not been widely adopted in secondary school arts programs. This is due in part to teacher resistance and/or negative attitudes toward the use of computers to teach art. Teacher insecurity and concern for the loss of student creativity are usually based…

Art criticism has not been incorporated into the curriculum despite support of this proposal by major art educators. The traditional art program consists only of studio instruction to the exclusion of art criticism and art history. The studio background of most art educators coupled with the limited availability of art criticism curriculum options…

Teams of elementary teachers, school administrators, and school board members from seven representative school districts in Los Angeles County (California) participated in a 3-week summer institute (1983) with the aim of learning to plan and implement systematic discipline-based art programs that included aesthetic, critical, historical, and…

An outreach program was conducted during the 1978-79 year by the DeCordova Museum in Lincoln, Massachusetts for the low-income elderly in conjunction with the local councils on aging and funded by the National Endowment for the Arts and Title III of the Older Americans Act. Components of the program are described, including drop-in workshops at…

This paper argues that a major objective of art in the schools is to enhance visual perception and that there is a close correlation between school achievement and visual perception scores. Children's art growth is discussed, and it is argued that dittoed drawings and coloring books are harmful to this growth because they promote a narrow and…

Presents skills necessary for student success in college. Outlines what college deans consider solid preparation in seven subject areas: arts, English, foreign language, history, literature, mathematics, and science. (MD)

This paper identifies the building of community during an ethnographic study of an intergenerational art education program in Harlem, New York City. The study examined intergenerational interactions between seniors and teenagers during their participation in an afterschool art program. Seniors were chosen from a list of 100 persons registered for…

This paper contends that visual aesthetic education (VAE) is intended for all and ought to be granted to adolescents capable of autonomous criticism and vocational clarification by the age of 15. The paper introduces VAE's essential concepts and historical developments. The paper identifies and elaborates nine challenges facing VAE. Contains a…

This study investigates what thinking skills are needed to be a good artist or art student, particularly in a secondary school art course. Following a review of the literature, a qualitative approach was used to identify, describe, and classify the thought processes that are seen by the participants as being conducive to success in visual art. The…