Examines the impact of sequential learning on art education. Contends that it has reshaped and redefined art educators' perceptions of what is art learning. Concludes that, although sequential learning still seems to be a feasible and desirable teaching and learning approach, the paths and directions of the approach may be changing. (CFR)

Contends that discipline-based art education requires a broader interpretation of art products and greater credit to the diverse cultures that created them. Describes a collaborative college-museum project focusing on multicultural visual literacy. (CFR)

Explores student assessment by portfolio approach as used in the Arts PROPEL project. Argues that the content of art knowledge is embedded in a process approach in which techniques, elements, formal analysis, and historical images can be explored. Observes that learning is an active process and teacher student interactions concerning the portfolio…

Asserts that multicultural approaches to art education have increased in number and variety in recent years. Describes an in-school museum elementary art program that teaches students to appreciate the everyday art found in their ethnically diverse homes. (CFR)

Provides a photographic essay describing the Los Angeles (California) Museum of Contemporary Art outreach education program. Describes three components of the program: (1) community outreach; (2) museum/artist studio visits; and (3) return visits. Outlines how participants engage in interactive discussions and art-making during the eight sessions…

Examines how current education reform reports reflect arts and humanities education. Maintains that the reports are marginalizing the arts and are advocating a back-to-basics approach. Points out that National Endowment for the Arts (NEA) tried to overcome this trend by introducing "basic arts education." (KM)

Reviews the political controversy regarding the National Endowment for the Arts and the relationship of art to human existence. Argues that art is an essential aspect of the human spirit. Proposes a definition of art as human activity that illuminates the universal qualities of a particular action or experience. (CFR)

Argues that the primary responsibility of professional art education associations to their members is advocacy. Explains four areas of advocacy: (1) public awareness; (2) professional development; (3) policymaking; and (4) patronage. Concludes that art educators must join together to advance the cause of ethical art advocacy. (CFR)

Contends that, in an age of decreased educational funding, it is more likely that art teachers must work with administrators who have little or no art training. Asserts that art teachers must educate the administrators about the value of educational art programs. Provides suggested strategies to accomplish this goal. (CFR)

Asserts that introducing educational technology into the K-12 curriculum is a major trend. Presents a set of questions that educators should answer as they increase the use of technology in the classroom. Maintains educators need to resist the temptation to use technology to replace important educational activities rather than to enhance them.…

Reviews alternative assessment practices in several nations and questions whether these techniques should be used in the United States. Focuses on moderation, a technique in which trained evaluators adjust grades to ensure equitable distribution among participating schools. Concludes that evaluation in art education presents special problems and…

Maintains that art therapy encompasses the areas of mental health and art education. Presents a case study of three sisters from a family with a history of sexual abuse and illustrates how art therapy was used as part of their overall treatment. (CFR)

Maintains that from kindergarten throught grade 12 students are bombarded by contests. Asserts that art teachers are asked to juggle learning objectives to meet criteria of the most recent contests. Provides recommendations for art teachers faced with decisions about participation in contests and other competitive programs. (CFR)

Identifies four components of a quality visual arts program. Discusses four components of leadership necessary to develop and maintain such a program. Includes a table describing 12 leadership skills. (CFR)

Asserts that qualitative research methodology represents a fundamental reconceptualization about knowledge, validity, and education. Reviews the history and trends of educational research and argues that it is increasingly legitimate to use qualitative methods. (CFR)