Three conceptual frameworks for examining the cognitive response to film are reviewed. It is suggested that a phenomenological rather than atomistic conception of the film-viewer interaction will be most useful for the generation of further studies in this area. (Author/RM)

Findings revealed no significant response differences due to mode of presentation. The study provides support for the proposition that mode of presentation has little systematic effect on untrained subjects' evaluations of paintings. (Author/RM)

Beardsley's explanation of how works of art have the capacity to give an aesthetic character to human experience provides a justification for art education in the schools. His major work, "Aesthetics," and subsequent writings that have a bearing on art education are discussed. (Author/RM)

The clustering strategy increased the metaphoric nature of college students' written interpretations for realistic, abstract, and nonobjective paintings. Relaxed attention exercises significantly increased metaphoric interpretations of realistic paintings only. (Author/RM)

Children at the preoperational and concrete operational levels are influenced by a variety of perceptual cues other than subject matter when classifying paintings. While younger children had little difficulty in classifying paintings done in three stylistic categories, older children were able to perform this task with significantly greater…

This experiment compared six methods of teaching concepts of painting style. A practice-plus-verbal feedback teaching strategy (active condition) was compared to a strategy using modeled verbal response (passive condition). Each strategy was combined with three amounts of information: none, artist's name, and name plus style rule. (Author/SJL)

Most art programs at the secondary level and beyond hope to produce students who can make discriminating aesthetic judgments about many kinds of visual art forms. This paper describes how students judge the art they encounter and suggests how art teachers might improve the quality of their students' responses. (Author/IS)

Focuses on ways in which a group of high school students responded to fine art and other forms of visual culture, such as advertising images, cartoons, and propaganda posters. Discusses three emergent themes in student responses: (1) purposes of imagery; (2) interpretation of images; and (3) relationships among images. (DSK)

Points out the limitations of the Cartesian epistemology underlying most art education textbooks. Explores the ideas of Gregory Bateson and Ellen Dissanayake who express a semiotic view of artistic creation that is multidimensional. Suggest implications for art education. (KM)

Presents a psychoanalytic critique of an advertisement for the Getty Center for Education in the Arts multicultural program. Applying principles derived from Lacan, Foucault, and Derrida, reveals basic racist, sexist, and elitist assumptions embedded in the advertisement. Includes a reproduction of the advertisement and extensive footnotes. (MJP)

Forty students, grades 4 and 8, were given match-to-sample tests on Western art, to gauge their ability to recognize paintings by the same artist. Eighth-graders performed reliably better than fourth-graders, and their matching justifications were more advanced. Prior artistic experiences improved style sensitivity. (SJL)

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)

Criticizes the traditional approach to art education that emphasizes formal properties such as line, color, and shape. Proposes that teachers develop student abilities to go beyond the visual level of artworks and gain access to the complexity of meanings that art possesses. Includes contemporary art examples and corresponding analyses. (MJP)

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)

Analyzes and compares the art education terms and concepts used to describe the visual properties of art objects to those used in computer graphics. Asserts that such paradigmatic differences exist between traditional design and computer media that a reevaluation of the shared terminology is demanded. (MJP)