Whether aesthetic appreciation (defined as an individual emotional response enjoyed for itself without regard to future considerations or applications) can be translated into classroom experience is discussed. (RW)

Discusses how asking adults what they wish they had learned in the arts when they were in school can help determine what to teach children and how to generate support for arts education. (SR)

Learning in the arts is a partnership involving trust, new ways of seeing, and risk taking. Teachers serve as guides, assist in cultivating aesthetic sensibility, model the lifestyle, and provide a safe haven. (SK)

In this article I examine Dewey's ambivalent attitude toward art museums criticizing their existence as repositories for the rich, while exploring their educational potential by analyzing Dewey's comments on museums in various texts, by relating his ideas to museum education theories and practice of the time, and by exploring his involvement with…

This article describes one classroom's experience implementing a art lesson aimed to reinforce the notion of "nonrepresentational." The lesson applied the elements of nonrepresentational art, as well as balance, unity, and line while inspiring surprise and curiosity in students who commented on their designs once they had completed the exercise…

This article, the tenth in an occasional series on past treatments of major issues in arts education policy from antiquity through the twentieth century, discusses philosopher Avicenna's view that art's aesthetic value bestows intrinsic public benefits sufficient to command community support of the arts. By exploring Avicenna's comparison of the…

Developments in the art world seem always to keep one step ahead of philosophical attempts to characterize the nature and value of art. A pessimist may conclude that theories of art are doomed to failure. But those more optimistic about the prospects for progress in philosophy may retort that avant-garde art does philosophers a great service. It…

John Dewey's "Art as Experience" argues that the roots of experience lie in the commonplace occurrences in the course of human life. Dewey's ideas are not only appropriate, but also useful in the field of education. It applies to the ways in which future teachers may experience art and the ways in which the experiential process of…

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)

There are three general ways of approaching the arts in the curriculum: the study of the historical foundations of the art forms; the study of the art experience and the artist as creator; and the critical study of the art form itself. (Author/IRT)

Considered the value that various art forms have for us in our relating to other persons throughout our daily lives. (Author/RK)

Argues that children need more than basic reading and writing skills to be successful. Advocates the teaching of the arts as an obligation to the development of a a well-rounded individual. Defines the aims and content of discipline-based art education (DBAE) and offers alternative approaches to implementing it in the K-12 curriculum. (BR)

Argues that social science areas of anthropology and sociology should be incorporated into theory of discipline-based art education (DBAE). Questions recent art-related theory that focuses only on DBAE. Urges sociology of art along with traditional disciplines of DBAE to become more diverse in order to enjoy art to its fullest. (BR)

States that implementation of the Getty proposals for discipline-based art education would be bad for art education, for schools, and especially for students. Develops several arguments critical of the proposals and critiques the "flawed notions of art, intelligence, and art education" which underlie them. (GEA)

Provides a brief background on current developments in aesthetics and the contested concepts of three approaches to aesthetics: (1) historical philosophical aesthetics; (2) aesthetic perception and experience; and (3) aesthetic inquiry. Concludes by proposing a fourth approach based on critical theory. (Author/BSR)