Addresses issues that might be raised in the study of art history from a critical theory perspective. Suggests that, in view of contemporary environmental and social concerns, Neolithic art would be of particular interest to students as would the possibility of having a society in which neither sex was dominant. (KM)

Reviews the evolution of Discipline Based Art Education (DBAE) since its inception in 1984. Asserts that DBAE has had a major impact on art education and now is influencing the performing arts as well. Recommends that DBAE principles should be applied to all of arts education not just the visual arts. (CFR)

Discusses the theoretical structure of Discipline Based Art Education (DBAE). Elaborates on the role of imagery for learning in all areas that involve perception, especially art history, art criticism, and aesthetic perception. (AEM)

Traces major directions of feminist inquiry in the disciplines of art history, art criticism, and aesthetics. Explores how first- and second-generation feminist scholars have challenged the canon of each discipline and the understanding of art traditionally produced. Draws implications for art education in curriculum development and teacher…

The Penn State Seminar grew out of the need for quality research in art education. Art was viewed in a broad, interdisciplinary context. The Getty Institute sought to establish visual art, defined as including art history, art criticism, studio production, and aesthetic perception, as a discipline-based subject in elementary schools. (Author/RM)

Participant observation of an innovative art teacher's classroom technique suggested that, despite his popularity with students, this teacher did not fully engage his students' attention. His attempt at using cognitive dissonance to bring about attitudinal change in the classroom left many students baffled despite the effort expended to involve…

Describes how an elementary classroom teacher discovers and explores the power of aesthetic experience in an educational context. Discusses how the artwork of Vincent Van Gogh helps an exceptionally difficult class of 11-year-old female students in suburban Dublin, Ireland, become interested in their education. (KM)

Provides an example of a discipline-based art lesson which interrelates the content areas of visual analysis, art production, and critical/historical analysis in a strategy employing interlocking imagery. Describes the model used for such lessons by the Getty Institute for the Education in the Visual Arts. (AEM)

Formats for testing students in art production, aesthetic perception, art criticism, and art history are discussed in terms of historical precedents, underlying philosophy, reliability, and relevance to instruction. Problems in the measurement of higher-order cognitive and affective expectations of art instruction are presented. (Author/RM)

Describes two studies of art instruction offered to secondary school students which integrated art production with critical and historical learning and provided some comparisons with non-integrated approaches. Provides observations of high school art programs that included art history and criticism as part of the integrated art curriculum. (AEM)

Children in grades one, five, and nine viewed painting reproductions for different lengths of time to determine whether viewing time affected their memory of color and subject matter placement. Results indicated that children's memories of these properties are affected by length of viewing time and that recognition improves with age. (Author/IS)

Postulates that students' untutored and unrehearsed verbatim responses to viewing artworks parallel specific schools of thought in aesthetic theory. Middle school students tape recorded their responses to a previous museum visit. Their responses reflected some of the key concepts in expressivism, institutionalism, and formalism. (MJP)

Reports on a study of 815 elementary and secondary students and adults on the types of evidence referred to in art historical interpretation. Finds that participants referred to four general types of evidence: (1) artist; (2) viewer; (3) culture; and (4) perception. (CFR)

Provides evidence that sixth-grade students are capable of considerable art historical understanding. Suggests that second-grade students are able to incorporate knowledge of individual artists, and some limited historical perspective, in their consideration of artworks. Includes assessment instrument and statistical tables. (MJP)

Maintains that visual images of people contribute to how people perceive themselves and others. Explores ramifications of this under social conditions where pornography is evident and accessible. Examines definitions of pornography. Applies critical theory to art education, stressing that art educators should identify and critically study artworks…