Proposes four principles of critical dialog designed to suggest a consistent pattern of preparation for criticism. The principles concern the characteristics of the intended audience, establishing the goals of art criticism, making a commitment to a context of relevant dialogue, and clarifying one's concept of art in qualifying an object for…

The author maintains that art is a social product and that, in the teaching of or about the arts, the social setting in which the arts exist must be acknowledged. She discusses British developments in the sociology of art. (Paper presented at the Aesthetic Education Conference, London, September 1980.) (Editor/SJL)

Examines three different approaches--integrationism, pluralism, and separatism--for including study of the women's art movement in public school art education. (SJL)

This paper deals with the main theses of Gombrich's theory of pictorial representation as they pertain to the understanding of representational artworks and children's drawing. It is argued that the current linguistic-cognitive model of representation adopted from Goodman's theory provides an understanding of images and children's drawing in art…

A prevailing assumption of Western theorizing about art is that each work of fine art is to be attributed to a single individual, "the artist" who created it. Art education, particularly in art history, reflects this assumption. Despite the "New Art History" of the 1980s that revised and diversified the canon, education in art history remains a…

Developments in the art world seem always to keep one step ahead of philosophical attempts to characterize the nature and value of art. A pessimist may conclude that theories of art are doomed to failure. But those more optimistic about the prospects for progress in philosophy may retort that avant-garde art does philosophers a great service. It…

This essay is based on work the author began several years ago when she undertook to analyze and compare the diverse descriptions of discipline-based art education that had appeared in the professional art education literature. It compared concepts of Discipline-Based Art Education (DBAE) presented in writings by Ralph Smith; Gilbert Clark,…

The aim of these pages is to provide some perspective on Project Zero's recent work, updating earlier accounts which have appeared in the Journal of Aesthetic Education and elsewhere. (Author)

One of the most significant characteristics which appears to have continually pervaded educational thought and practice is that of the "either/or," the "pendulum of education." The author discusses its impact upon art education by examining the issue of art history vs art making. (Author/RK)

The import of these brief notes is that the systematic planning of art education should involve experts who range from philosophers to technical advisers. The teacher's primary expertise stems from the studio or workshop. A diagram shows this link between direct experience and scholarship. (Author/RK)

An answer to the question, What is the paramount value of art, the value that justifies its inclusion in the school curriculum? is provided, using the writings of A. C. Bradley and Susanne K. Langer. Implications for teaching the arts are given. (RM)

Although aesthetic descriptions and critical judgments of works of art rely on the standard use of language (it is meaningless to invent some extended or special technical language), they nevertheless require informed perception and imaginative but precise application. Implications for art education are discussed. (RM)

Article is organized around five questions: what is art criticism, its relationship to education, its connection with art education, and can criticism be taught, and what does a teacher need in order to function as a model of criticism? (Author/RK)

Reveals the author's extensive work in educational planning and indicates the complexity, frustrations, and rewards of effecting change in educational practice. (Editor/RK)

Discusses the role of art movements within social change. (RK)