Describes ways that aesthetic theories can be integrated into children's art education. The author illustrates elements of E.H. Gombrich's theory of aesthetic perception using as examples art activities designed to increase student awareness of their "mental sets" and their understanding of how mental sets influence visual perception. (AM)

The Egyptian architect Wissa Wassef believed artistry in crafts to be an innate human characteristic that would be universally expressed under the right conditions, i.e., the practice of the craft from early childhood. When he had Egyptian peasant children with no previous art experience weave tapestries, the results astounded the world. (RM)

Little League and art education are trying to justify themselves by forcing precocity on children. Children are entitled to learn in their own most effective ways. (RM)

There are five categories of titles of paintings: descriptive, narrative, directive, poetic, and arbitrary. When children title their work they give clues to its intent and challenge the presuppositions that adults may bring to children's art. Titling can expand students' ideas for painting and provide a greater variety of approaches. (CS)

Presented are techniques that elementary and secondary art teachers can use to help students evaluate their own works of art. These include mapping and diagramming, tracings, coverings, cutting apart and placing together, estimating, framing, enlarging and reducing, simplification and elaboration, projecting, playful tools, celebrations and…

Asserts that the copying of artworks does not stunt a child's creative development; rather it can serve children, as it did many great artists, as a useful tool for the development of the technical and aesthetic skills necessary for creative expression. (SJL)

Identifies and responds to criticisms of discipline-based art education (DBAE). Shows how it is an all-inclusive program that responds to the needs of all students. Analyzes factors that relate to self-esteem and demonstrates how DBAE enhances it. Describes a typical lesson and case studies to support this argument. (KM)

Provides four art portraits from various sources to help students question reality and the roles people play in society. Includes background information on the artists, historical contexts, visual analyses, and vocabulary lists. Outlines art and reading assignments for all age groups. (KM)

Describes how a teacher can motivate students to be creative by dressing up, performing for them, hiding things, and designing visual experiments. Advocates that art teachers demonstrate that art class is a playful and exciting place to be. Suggests methods to encourage teachers and students to perform. (KM)

Reexamines basic aspects of creativity enumerated by Viktor Lowenfeld and shows how goals of art education have varied with time and social needs. Argues that interdisciplinary approach to learning, which involves seeing connections and realizing that all knowledge is one and whole, is what education is all about. Concludes that such approach was…

The gallery and weaving workshops of the Wissa Wassef School, located near Cairo, Egypt, are described. The school was started 30 years ago by the Egyptian architect Wissa Wassef, who believed in innate creativity and the need to encourage artistic creation by the practice of the craft from early childhood. (RM)

Asserts that the practice of drawing in sketchbooks contributes something valuable and unique to young children and to those who teach them. Maintains that voluntary drawings offer children a form of engagement in art-making that is substantially different from what they experience in lessons initiated by a teacher. (CFR)

Outlines a collaborative processing model of art education what draws upon the language and learning notions of Lev S. Vygotsky. Emphasizes the role of the learner in collaboration with her/his social environment rather than traditional disciplinary boundaries. Synthesizes the principles of transactional learning theory and the processes of making…

Compares and contrasts discipline-based art education with Viktor Lowenfeld's creative self-expression approach, using growth, medical, and molding metaphors. Maintains that these two approaches are similar because the views of the child, the teacher's role, and the relationship between them has not changed. (KM)

Discusses three issues pertaining to the use of interactive graphic hardware and software in schools: (1) computer graphic production processes; (2) the social dynamics of computer graphics production in school; and (3) the qualities of imagery. Concludes that art educators must consider what particular art concepts could and should be taught…