This publication contains proceedings of a seminar structured around five basic themes: (1) cultural diversity in education; (2) discipline based art education (DBAE) and cultural diversity; (3) how cultural diversity has affected practices in art history, aesthetics, criticism, and art making; (4) experiences in other disciplines which effect…

Presents background on the aesthetic experience which can be developed into curriculum content for teaching aesthetic literacy at the elementary and secondary grade levels. (Author/SJL)

This document is the secondary level visual arts component of the North Dakota Arts Curriculum Project. After a presentation of the philosophy, goals, and objectives for the visual arts program, the guide is organized into four sections. The first section, "Visual Arts Program Components," presents an overview of educational…

Discusses the founding, development, and issues surrounding the Barnes Foundation and its art collection, specifically designed for art education. Also discusses myths about Albert C. Barnes, the Barnes Foundation, and its relationship to the ideas of John Dewey. (CFR)

Asserts that aesthetic questions and aesthetic understanding provide the framework for learning in art. Contrasts formalism (the belief that art exists for its own sake) with contextualism (the belief that art is part of a social communication system). Maintains that a balanced art program should incorporate both approaches. (MJP)

Arguing that the visual arts serve as the focus for potential aesthetic experience in the discipline of art education, this paper describes the influence of the sensory elements of aesthetic experience in nature and other art forms on the work of three artists--Kandinsky, Van Gogh, and Picasso--and suggests that teachers can enrich students'…

Describes Getty Center for Education in the Arts, which espouses the ideas and skills of art production, art history, art criticism, and aesthetics and involves four activities related to the visual arts: (1) creating art, (2) perceiving and responding to art works, (3) understanding the place of art in culture and history, and (4) making reasoned…

This guide and accompanying videotape are the fifth and final in a series that present full lessons and interviews with the instructors who created the lessons. Intended as starting points to stimulate thinking about a comprehensive approach to art education, these instructors discuss how they developed their lessons and how this approach has…

Characterizes much of the current postmodernist art design as capricious and self-indulgent. Explicates three fundamental concepts from the modernist school: a notion of order; clarity of form and space; and significant contrast. Criticizes current design for its emphasis on novelty and systematic violation. (MJP)

Described is a college-level art activity that teaches aesthetic literacy to entry-level art education majors. Students are asked to bring to class and to discuss two objects--one, an art object, and the other a nonart object. The article also presents thematic categories for the generation of aesthetic concepts. (RM)

The author summarizes the contributions which aesthetic or arts education can make, both to academic competence and personal creativity, for learning disabled students. Vignettes illustrate the potential of various art forms, including manual arts, music, dance, drama, and filmmaking. (SBH)

Observes that the focus and special quality of art education can sometimes be diluted in an interdisciplinary setting. Provides several examples and suggests creative and cooperative responses. Includes guidelines for maintaining quality art instruction in an interdisciplinary context. (MJP)

Created to support aesthetic education for grades K-6, this document provides a scope and sequence for instruction which art teachers can use. Areas covered include: drawing, painting, collage, printmaking, textile arts, puppetry, architecture, environmental design, film-making, and commercial art. Detailed outlines of concepts, performance…

Describes one preschool teacher's art classes and her approach to creativity and esthetic growth in children 4 to 6 years old. (SB)

Instructional strategies based on a portrait painting of Francisco Goya introduce primary grade students to the idea that portraits are pictures of people. Students also develop an awareness that the visual vocabulary of color, shape, line, texture, and the quality of brushstrokes can communicate feelings and ideas. (RM)