List steps that art teachers can take to create an organized, factual defense against disproportionate cuts in the district art program. (SJL)

Art educators must become politically involved. If they persist in their splendid isolation, each attempting to protect his or her own turf, all art educators may find themselves turfless. (RM)

This article presents positive approaches to advocacy of art programs in the Tempe Union High School District (Arizona) during its development and expansion. Stated is the belief that teachers must take a leadership role in advocacy if students are to benefit from the unique opportunities available only through the arts. (Author/KC)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

Adolescents react very positively to computer graphics programs. The biggest obstacle to initiation of computer art in schools is teacher attitudes. Things to consider when starting a computer graphics program are discussed, and some illustrations of student computer art are provided. (RM)

Discusses the nature of aesthetics, the kinds of activities involved, its sources, and competing ideologies. Recommends a plan for teaching aesthetics. Maintains that, for aesthetics to be fully implemented into the school, teachers must be asked to participate in designing the curriculum. (KM)

Identifies the potential roles of art teachers, urban planners, and community groups in education programs that enable students to understand the built environment. Proposes a new branch of art education that stresses knowledge of the social and political context in which built environments are formed. Stresses the shaping of student…

Presents classroom lessons based on four art works designed to change people's minds and behavior. Provides full-page color reproductions of each work of art. Includes information about the artist, questions to be asked about each art work, and suggested classroom activities. (CFR)

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 the roles of the following groups in creating and maintaining a quality school art program: superintendents and boards of education, principals, parent teacher organizations, state art supervisors, classroom teachers, local art supervisors, and certified art specialists. (SJL)

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)

Argues that curriculum reform efforts related to the America 2000 program have ignored art education, particularly in the elementary schools. Describes the CREATES program, a field-based instructional project with visual arts, teaching/learning experiences for preservice teachers, inservice teachers, and elementary students. (CFR)

Considers the career and accomplishments of Colonel Wayland Parker, a late-19th-century educator and reformer. Parker worked to establish art education as an essential part of every school's curriculum. He proposed integrating art into all of the daily subjects and recommended the establishment of studio and workshop spaces. (MJP)

Asserts that art teachers must be prepared to understand and work with persons with disabilities. Describes a one-semester pilot program for art education students designed to examine what kinds of academic preparation and practicum experiences are needed. (CFR)

Summarizes concerns addressed at the 1991 "Future Tense: Art Educational Technology" conference. Addresses two questions implicit throughout: (1) how do the arts serve this new technology? and (2) how can the technology best serve arts education? Reports that among the most troublesome issues addressed were access and equity, the…