Directs attention to the theoretical model for discipline based art education developed by the Getty Institute for Education in the Visual Arts. Observes that there are variants from the Institute model which exceed the DBAE model and raises the issue of theory deterioration through popularization and mislabeling of some programs as DBAE. (AEM)

Offers a brief history of the academic roots of discipline-based art education (DBAE). Discusses writings in the areas of educational philosophy, educational psychology, the social foundations of education, and educational theories and policy which shape contemporary thinking about DBAE. (JDH)

Presents a review of emerging changes in developmental psychology drawn from the research and theoretical literature. Relates these changes to the goals and methods of discipline-based art education. (JDH)

States that amidst optimism and controversy, discipline-based art education (DBAE) has entered the U.S. art education scene. Attempts to put DBAE in perspective, to identify its roots, and to alleviate the concerns of some about its message. (Author/BSR)

Outlines the components of Discipline-Based Art Education (DBAE). The program is based on the development of four domains in art: production, criticism, art history, and aesthetics. These areas are important dimensions in artistic development, and the acquisition of art skills broadens childrens' sensitivities to the world in general. (MD)

Outlines the discipline-based art education curriculum developed by the Getty Institute for Educators on the Visual Arts in the Los Angeles County elementary schools. (Author/MD)

Proposes a definition for folk art based on analyzing and sorting the descriptors and identifiers used in the disciplines of art history, folklore, anthropology, and antique and folk art collection. The proposed definition is not meant to specify an undeniable category of art, but rather to suggest specific aspects which should be identified in…

Describes subject-centered and child-centered approaches to art education, how they developed, and how they might be integrated. Concludes that a return to a more bookish, academic approach will not improve the quality of art education. Recommends the integration of art production, art history, criticism, and aesthetics. (JDH)

Provides a developmental interpretation of some of the differences in peoples' responses to art. The interpretation is based on a theory that focuses on how people understand paintings. Identifies a five-stage theory of aesthetic development and illustrates the typical stage responses of people viewing the Ivan Albright painting "Ida." (JDH)

There is no natural or genetically determined talent for aesthetic appreciation, but at most a widely distributed capacity that, fortified by interest, can be developed. The aesthetic experience should be cultivated but for its own sake. (RM)

An outreach program for gifted upper elementary students developed at the Hirshhorn Museum is described. Objectives are to teach visual literacy, to present the materials using the inquiry method, to use art history and criticism to develop students' looking skills, and to encourage parents to attend classes and museum visits. (RM)

Only at the third- and seventh-grade levels did proportional preferences for Fibonacci figures differ significantly from preferences for other kinds of proportional spatial divisions. Semantic patterns were similar among third and fifth graders, with a change occurring between fifth and seventh grades in keeping with the development of formal…

This book contains a collection of never-before-published lectures touching on the topics of aesthetic education, imagination and transformation, educational renewal and reform, excellence, standards, and cultural diversity. The lectures in the book were given over a 25-year period of the educator's/author's self discovery and continuing efforts…

To push for higher standards of learning, many policymakers are eliminating arts programs. This book presents the definitive case, based on what is known about the brain and learning, for making the arts a core part of the basic curriculum and thoughtfully integrating them into every subject. Separate chapters address musical, visual, and…

The present research is concerned with preference for visual (polygon) complexity versus simplicity in relation to national membership, using adult subjects from five nations (cultures) four groups of which were temporarily resident in the U.S.A. (Author)