An effective approach to drawing instruction at the secondary level is through the exploration of unique materials and techniques. Two such approaches involve the use of physics and aesthetics--creations of drawings utilizing photographic processes. Methods of teaching direct light drawing and etched light drawing are presented. (Author/KC)

Described is a teacher-training program--Education for Aesthetic Awareness--designed to sensitize teachers to aesthetics, to help them become aesthetically literate, and to help them be better aesthetic educators. (Author/KC)

The arts are advocated not because they help children learn basic skills, but because the skills that are developed through the arts are basic to the complete growth of every human being. (Author/IRT)

Explores some of the more beguiling issues in aesthetics and education and suggests how they might be, in their devious ways, thwarting the development of aesthetic education. (Author/RK)

Article is a criticism of the document "Guidelines" published by the Aesthetic Education Curriculum program. The need for standardization of language and definition of concepts in aesthetic education is emphasized. (RW)

Discusses how the Australian bowerbird models the building of an arts-based curriculum by turning survival into a platform for learning, introducing a thematic issue that includes papers on what arts-based research and practice looks like in teacher education and how arts-based approaches are meaningful and useful in teacher education. (SM)

This article outlines the history of discipline-based art education (DBAE) and its underlying concepts, identifies and refutes significant misconceptions and criticisms of DBAE, and suggests a more balanced approach to appraisal of DBAE. (IAH)

Examines how three schools of art education--child-centered creativity, aesthetic education, and discipline-based art education--address the content and methods of the humanities. Advocates a humanities approach to art in general education, using interdisciplinary content in the analysis, interpretation, and synthesis of works of art. (LS)

Maintains that artists seldom take an educated interest in any artistic discipline apart from their own. Suggests that students need to be allowed to confront each other with regard to the aesthetic quality of a work and suggests an interdisciplinary form like performance art could be a good starting point. (KM)

Discusses Henri Cartier-Bresson's notion of the "aesthetic of the decisive moment" and its role in photographic composition. Argues that recording spontaneous moments from real life can produce significant and complex photographs. Suggests that instilling this technique in photography students frees them to experiment without fear of…

This article draws attention to three important aesthetic ideas--ideas which have become, in the early twenty-first century, so widely endorsed in Western culture that they have become the stock platform of much theorizing and teaching about our experience of art and its relation to the rest of life. All of these ideas sprang from Beat thought in…

"A primary task ... is to restore continuity between the refined and intensified forms of experience that are works of art and the everyday events, doings, and sufferings that are universally recognized to constitute experience."--John Dewey, "Art as Experience" (1934)Dewey's primary task has resurfaced in the visual culture movement and is a…

Asserts that the introduction of the term "critical studies" to British art education reflects art educators' views that the practice of art alone is insufficient to gain a full experience and coincides with a political will to return to traditional forms of content and knowledge. (CFR)

Through the arts, people holistically learn, interact with greater multicultural diversity than elsewhere, and form connections with others. Participating in the arts gives adults experiences, contexts, and tools to help them reexperience, revision, and reconceptualize multicultural diversity in their lives and communities. To illustrate aspects…

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines:…