Examines some problems in teaching art history to students in a fine arts program. Argues that art history should be taught as the history of recurring artistic problems. (Author/RKM)

Discusses the movement in British education to separate design education from art education. States that this should not be done. Argues that fine arts classes should continue to be taught at the higher education level. (RKM)

Discusses the project Learning to See which is concerned with the aesthetic and design aspects of environmental study. Focuses on research work in the schools that is based on environmental experience. Presents a five-point plan for art and design relative to environmental study. (KO)

Examines issues related to critical studies and educational goals included in the National Curriculum in Great Britain. Concludes that the emphasis on production in art education has declined and that aesthetics and cultural diversity, both components of critical studies, has increased insignificance. (CFR)

Examines two designing traditions and their influence on architectural design education. Points out that the emphasis upon either idea or technique is often uneven in proportion even though design is, in fact, an interaction of the two. Suggests that success of a course depends upon its methodological focus as well as its content. (KO)

Surveys some of the problems experienced in design activities in the Craft, Design, and Technology (CDT) examinations. Examines recent developments in the procedural models of design activity and the understanding of how professional designers approach their work. Discusses how these insights could be incorporated into the school curriculum. (KM)

Questions the origin of design history and its relationship to art history. Maintains that design historical knowledge is produced, and it must be acknowledged that there are design histories and not one monolithic body of knowledge. (KM)

Points out that it is unfair to evaluate art and design courses by using information concerning initial employment. Stresses that lateral movement is necessary for gaining wide experience in the field of design and argues that first destination statistics do not reflect this situation. Suggests continuous monitoring of graduates. (KO)

Identifies the distinct paradigms concerned with the teaching of craft and the teaching of design, two elements which are interdependent in an art course. Reports teaching experiments that encourage pupils to seek out visual analogies of shapes and shape-relationships. Advocates the incorporation of guided concepts into pupils' techniques. (KO)

Examines the function of drawing by interviewing a wide range of people engaged in design activities. Promotes drawing for its vital contribution to two areas of design activities, exploration, and manipulation. Maintains that further research is necessary now that design and technology are part of the core curriculum in schools. (KM)

Asserts that the term "basic design" has become well known as a type of design education practiced at England's King's College and Leeds College of Art in the 1950s and early 1960s. Describes the work of James Bradley, who brought the basic design approach to Sidcot School, a secondary school in Avon. (CFR)

Reviews art education in the United Kingdom and the United States over the past 20 years and discusses future agendas. Identifies positive developments in the field and identifies short-comings. Calls for an overhaul of the structure of the school and stresses the need for the modeling of excellent teaching. (KO)

Reviews significant aspects of the debate about art and design education in secondary schools in England and Wales. Asserts that the British National Curriculum forces art and design education into a marginal role. Contends that the National Curriculum's Order for Technology is of crucial concern for every art and design teacher. (CFR)

Compares the arts and design context and attributes of the National Curriculum in England and the National Guidelines in Scotland. Concludes that art and design educators in both England and Scotland must work to remove bureaucratic constraints that prevent practitioners from controlling their own discipline. (CFR)