This paper begins with the following quote from Michel Foucault: "People know what they do; they frequently know why they do what they do; but what they don't know is what what they do does." The context of the paper and the policy directions considered encompass the past decade and take the National Curriculum as an intervention in…

Adapted from the presidential address to the National Art Education Association in the Spring of 1983, this article discusses the professional identity of art teachers and why art belongs "in the mainstream" of education. (RM)

Presented are brief descriptions and comments by administrators of some California arts programs on producing a quality arts program inexpensively. Topics discussed are: initiating a Comprehensive Arts program, the use of CETA artists-in-residence, curriculum development, and the coordination of a high school fine arts program. (Author/SJL)

In this keynote address to the 1980 National Art Education Association National Convention, the author suggests a redirection of art education. He proposes a redefinition of the scope and purpose of art education, outlines a dialog curriculum for aesthetic literacy, and considers ways of dealing with the arts bureaucracy. (SJL)

This document presents a brief history of the Society of Scribes and describes procedures for the 1-day workshop, master apprenticeship method, of calligraphy instruction. Calligrapher-instructors using this method include: Lili Cassel Wronker, who encourages straight edge pen point exercises; E. J. Carroll, who focuses on the commercial client…

This paper describes the proposed Masters of Arts degree in Arts Administration for Dowling College, a liberal arts college in Oakdale, New York. The purpose of the Masters of Arts degree in Arts Administration is to train art professionals to become administrative leaders in arts organization such as museums and other fine arts organizations. The…

This paper explores the question of introducing a critical pedagogy of representation into the art classroom, what it means and how it works. A critical pedagogy of representation holds socially transformatoryugoals that work toward a critical democracy. The approach affords opportunity for oppositional readings of texts and images by opening up…

If visual art is to be taught as a substantive part of the public school curriculum, then it's content and structure need to be translated into a curriculum that provides continuous cognitive and psychological growth and development. While discipline based art education (DBAE) acknowledges the values of art production, the content of art should…

Until recently, little scholarly attention has been paid to the art found in children's books. This study describes a project with a fifth grade class in an effort to increase their ability to critique book illustrations. Ten slides from picture books were shown to one experimental and one control group. Students were asked to critique the…

For the most part, the visual component has been ignored in programs developed to improve the general education of undergraduate students. At the University of Cincinnati (Ohio), however, a general education program has been developed that includes a visual literacy component. Faculty development workshops have been held to remind faculty members…

With the emergence of interactive learning technologies, there are many questions which must be addressed concerning young learners. Such sophisticated technology combined with thoughtful instructional design has the potential for both encouraging achievement and stimulating important scholarly attributes such as curiosity and other aspects of…

Many aspects of discipline-based art education (DBAE) can be used with mentally retarded students and the effects of this approach can be exciting and fulfilling for them. Art criticism activities improve mentally retarded students' visual awareness, verbal skills, and ability to think independently. They are able to progress through the steps of…

The puzzling quality of modern art, in both its complexity and its simplicity, symbolizes a barrier between the student and the elite's privilege of power. Too frequently, students have been taught that art is a secret, a code to which only teachers have the key, and that there is only one correct interpretation of a work, which must be imparted…

This study explores the relationship between students' perception of the learning process in their secondary school arts classes and seven contextual elements: (1) teachers' demographic characteristics and their attitudes; (2) students' demographic characteristics and their self-concepts; (3) the classroom environment; (4) the curricular content…

The goal of an introductory graphics course is fundamental visual literacy, which includes learning to appreciate the power of visuals in communication and to express ideas visually. Traditional principles of design--the focus of the course--are based on more fundamental gestalt theory, which relates to human pattern-seeking behavior, particularly…