Provides illustrations and activities to help students at all grade levels understand how artists look at the world and how each artwork is a result of that personal vision. Suggests questions based on an art criticism model that moves from stages of impulse, description, analysis, interpretation, and information to personalization. (KM)

Explains that the laser videodisc is a versatile and cost-effective tool with enormous instructional potential for art education. Describes the origins, quality, and capability of videodiscs, and discusses the varieties of players and discs presently available. Maintains that this technology is especially relevant now that art education includes…

Contends that picture books can be valuable resources for teaching art appreciation and criticism. Provides suggested activities keyed to specific books. Includes a bibliography of recommended picture books selected for this approach. (CFR)

Describes art programs that were given at several elementary Australian schools focusing on Christmas and Easter. Explains that the programs are based on the accounts of the birth and death of Jesus given in the Bible. States that the programs integrate studio art, art criticism, and art history. (CMK)

Discusses the genesis of the Rembrandt Teaching Project, a discipline-based arts curriculum focusing on art history, art production, art criticism, and aesthetics. Developed for a group of New York City middle school students, the goal of the curriculum focuses on critical thinking skills. (DAJ)

Recommends using an activity-based approach to art history similar to that of the "new social studies" movement of the 1960s. Provides suggestions for activities related to art criticism, style, and inductive learning. Concludes that student activities can help integrate art history and studio art in art education programs. (CFR)

Examines three assumptions evident in the practice of art criticism models: (1) the connection of first impressions with the viewer's past experience; (2) the connection between sequential procedures and learning; and (3) the use of judgment as a necessary step in understanding. Describes a new criticism model that stresses understanding and…

Defines aesthetics when framed as critical inquiry as the process of teaching students to use critical strategies of professional philosophers to develop aesthetic content. Addresses four major aesthetic issues: meaning and value in art, how to discuss art, aesthetic experience, and beauty. Presents a sequence of critical-inquiry activities. (CMK)

Focuses on a way of teaching that explores the connection between historical and cultural content in works of art, linking the present and past through reCognizing (understanding a previously known thing differently or viewing an unknown thing in multiple ways). Provides an example of reCognition using the Kwanzaa Playground in Columbus (Ohio).…

Presents the findings from a study in which children acted as art museum tour guides for their adult pre- and in-service teachers. Focuses on the children's conceptions of museums, art museum rules, and tour guides; the children's interpretations of artworks; and the learning outcomes. (CMK)

Describes "the world of the work" as the state of affairs an artist projects, including what is suggested and inferred as well as what is represented directly. Discusses how teaching "the world of the work" concept to preservice art teachers enables them to access the representational content of artworks. (CMK)

Examines the role of the African American "trickster" archetype and the conceptions of the trickster in folk tales and pop culture. Discusses the trickster in the life and work of Romare Bearden. Provides a rationale for an arts-based integrated curriculum and describes a four-step art criticism technique to integrate Bearden and the…

Discusses the life of Benny Andrews, a recognized artist, cultural leader, and storyteller, and the importance of narrative in his artwork. Provides an interdisciplinary project where the students analyze Andrews'"Autobiographical Series," discuss the series as a form of storytelling, and then write their own family story. (CMK)

Contends that a work of art may have more than one story to tell and that the full meaning requires knowledge of the artist's background and culture. Presents four classroom lessons based on three paintings and a beaded belt. Includes full-page color photographs of the art works. (CFR)

Identifies the essential features of critical inquiry and shows how it differs from the critical procedures often recommended by educators. Explains the implications of the inquiry process for teaching criticism. Provides a model of critical-inquiry instruction by suggesting three basic instructional strategies for teachers and describing an…