Describes the development of the art certification examination which was designed for the Florida State Initial Teacher Certification Test. Discusses problems of subjectivity, content, and question format. Suggests criteria which can guide the development of viable college art education programs that can adequately prepare teachers in the areas of…

Describes the New York City Board of Education's Arts Partners program which brings artists into the schools to provide learning experiences to students. Points out ways in which the artists are provided the opportunity to improve their instructional skills. Concludes that everybody benefits from the effort. Provides Board's address for requesting…

Outlines 26 ideal instructional competencies in four disciplines of learning art: art production, aesthetics, art criticism and art history. Reviews the positions of the United States Office of Education, the National Endowment for the Arts, the Association for Supervision and Curriculum Development, and the National Education Association on…

Highlights the purpose and role of the arts in society, discussing the problems involved in arts education for a culturally diverse community such as the United States. Explores the linkage between politics and the arts, and the importance of providing educational opportunities for young people to experience the arts. (GEA)

States that despite extensive credit and noncredit art programs provided by colleges and universities for students and surrounding communities, there is a lack of a cohesive vision in the area of lifelong arts learning. Concludes that effective lifelong education in the arts is an important and attainable goal for higher education. (GEA)

Advocates that art should be taught by the certified art educator. Suggests art programs should be based on a substantive content foundation, sequence, and integrated with four components: art production, aesthetics, art criticism, and art history. Questions the worth of enrichment, exposure, or entertainment without substantive content…

Discusses the roles of specialist, generalist, and visiting artist impact on policy, instructional philosophy, content, and staffing. Concludes that a quality music education program should capitalize on the strengths of all three types of teachers. (TRS)

Discusses the future of art education in relation to changing demographics, technologies, values, and art forms. Reiterates two basic theories of art education: a separate subject with a defined place in the curriculum or a decentralized approach in which teacher involvement in the planning process has priority. (GG)

Describes Tennessee's response to the educational reform movement. Discusses the Comprehensive Education Reform Act of 1984 (CERA) which instituted Tennessee's Career Ladder Program. Provides an evaluation, and identifies strengths and weaknesses of the the Tennessee Arts Academy which grew out of CERA. Concludes that the Tennessee Arts Academy is…

Traces the development of National Endowment for the Arts education policy and relates these trends to the conversion of art activity into entertainment. Points out that large budgets and increased activity in programs do not guarantee artistic achievement with permanent value. Urges interested persons to support the ideals of art. (KO)

Examines the role of the National Endowment for the Arts in determining art education policy, stating that the organization has become increasingly political and has failed to realize its early promise. Argues that the arts should be regarded and taught as a humanity. Advocates an "excellence curriculum" for secondary art education. (GEA)

Discusses the decreasing interest in arts education and the decline in arts enrollments on some campuses. Presents a model of the factors which affect teacher preparation programs in the arts, examining the goals of recruitment, admissions, and retention of students. (GEA)

Maintains that only people prepared through an arts education can truly receive and understand the benefits of civilization. Argues that we may counteract the undesirable effects of an easy, "instant response" society by focusing our collective and cooperative energies on education about the arts. (TRS)

States that the critical work for art educators will continue to be curriculum development and implementation. Claims that an emergent issue for art education is a community-relevant, developmentally appropriate curriculum. Discusses issues facing curriculum developers and outlines criteria for the art education curriculum. (GG)

Reviews the use of microcomputers in the art studio and classrooms. Argues that there is a lack of effective software for art education, but that computers are useful for enhancing standard visual grammar. Suggests that the most legitimate educational use of computers is employing them to discover new ideas in better ways. (GG)