Students preparing to become art teachers at Massachusetts College of Art must take a course that teaches them the techniques of historical research. Students choose their own research topics. One student found part of a Chautauqua industrial art desk, the researching of which opened up many new areas for historical investigation. (Author/RM)

Discusses Viktor Lowenfeld's influence on art education in general. Assesses the impact of popular culture on perceptions of art and art education, arguing that to be of value, art education must surpass contemporary culture and introduce students to the larger storehouse of human history and achievement. (GEA)

Questions the use of professional artists as appropriate role models for students learning about art making in the classroom. Examines a biography of one artist and reviews research on the psychological and social circumstances that facilitate art production. Suggests that the creation of those circumstances in the classroom would be complicated.…

Argues that in an art world dominated by critical theory the contribution of painting to society and education is not firmly established. Reviews challenges from critical theory to painting and constructs an alternative relationship between them. Articulates how concepts in critical theory are informed and extended by painting. (DSK)

This article examines discipline-based art education (DBAE) issues for their origins, meanings, and implications. The issues are discussed within four general categories of conceptual structure, curriculum selections, research foundations, and organizational affiliations. (Author/JDH)

Details a scope and sequence for art education, emphasizing art criticism and aesthetics. It is presented as an alternative for the more common curriculum, which uses art production as a means to personal development. Notes that most teachers are more comfortable in teaching the "production end" of art rather than art criticism and aesthetics due…

States that the history of frequently offered Saturday morning art classes in museums and university art departments is largely unknown. Traces the development of the earliest known North American example of such classes, the 1887 beginning of children's Saturday art classes in Halifax, Nova Scotia. (JDH)

The focus of discipline-based art instruction is on art within general education and within the context of aesthetic education. Four disciplines--aesthetics, studio art, art history, and art criticism--are taught by means of a formal, continuous, sequential, written curriculum across grade levels, in the same way as other subjects. (Author/RM)

Outlines a community-level approach to art education history by examining the art education community. Reviews complexity science concepts and organizational and educational change theory. Discusses the application of community to historical inquiry in the form of community-level studies. Includes references. (CMK)

Compares Oskar Kokoschka's teaching practices with American Progressive Education literature. Observes that the latter stresses the need for practicing artists to teach in the schools. Evaluates the strengths and weaknesses of the artist-in-the-classroom concept revealed in light of Kokoschka's practices. (KM)

Discusses formalist/universalist, personal response/ antiformalist, and pluralist approaches to aesthetics. Recommends using a pluralist approach because it accounts for the aesthetic principles of non-Western art forms. Discusses pluralism in art education and how the criteria of Western aesthetics are now being challenged by art educators. (KM)

Reports the effects of art-history instruction on students' abilities to interpret artwork contextually. Confirms that eighth-grade students are more successful in contextual interpretation; students at both levels can use successfully the historical artist perspective; and art-history instruction at both levels increases students' ability to…

Seeks hard evidence from high school art teachers that a studio curriculum promotes global understanding and appreciation of artwork, including historical art. Indicates that studio experiences alone do not enhance students' ability to understand or appreciate well-known historical artwork but that including critical and historical inquiry…

Offers a biographical account of Helen Gardner's life and work in art history. Addresses the influence her book entitled "Art through the Ages" had on art education after its first publication, discusses why the book has been in print for 70 years, and considers Gardner's role in the success of her books. (CMK)

Sets forth diagramatic representations of the four art disciplines (aesthetics, criticism, history, production) as a basis for devising a discipline-based art curriculum. Provides an example of an inquiry framework to guide the planning and application of instruction. (AEM)