Discusses the use of interdisciplary courses for the integration of art education and the how and why of such usage. Also presents teacher opinions on this approach to learning. (RK)

Attention in this essay is given to Lowenfeld's theory of the distinction between visual and haptic experience and its influence on his theory of creative self-expression. (Author/RK)

In open letters to the faculty affairs committee, an art education department chairman attacks the aesthetic approaches being used by a lecturer in art education to teach elementary education majors, and the lecturer defends his deemphasis of crafts and projects with R. G. Collingwood's philosophy in "Principles of Art." (SR)

This article briefly describes the Aesthetic Eye Project, a federally funded inservice program of the Los Angeles County Schools. It also explains the concept of aesthetic perception developed by the project and discusses how this concept can be applied to unified arts teaching and the teaching of basic skills. (SJL)

Boards of education should not be blamed for their reluctance to treat art seriously. They have a duty to ask hard questions about the educational value of the arts and their place in the schools. It is up to the art world and especially arts educators to provide reasonable answers. (SJL)

Argues for the value of postmodern picture books as a classroom resource for addressing contemporary challenges. Offers a discussion on what postmodern picture books are, a rationale for using postmodern picture books, and teaching postmodern aesthetics. Includes some examples of postmodern picture books. (CMK)

Asserts that the key to changing attitudes about education in the schools is through aesthetic education, emphasizing the role of art and visual imagery in today's world and the conceptual relationships between art and society. Explores different trends and includes examples of differences between media and conceptual approaches to art education.…

Discusses how quality art education can be fostered in primary schools. Suggests that curricula emphasizing disconnected activities and entertainment should be avoided. Maintains that nonart specialists have difficulty understanding art specialists but that this could be alleviated by using terms familiar to both, such as skills, knowledge, and…

Explains the rationale for including art in the general education curriculum and expanding the studio orientation to include art criticism, art history, and aesthetics. Advocates a balanced, integrated curriculum that resembles artists' ways of confronting, experiencing, and producing art and meets students' multicultural needs. (MLH)

Describes ways computers are used in the art education program of one elementary school. Illustrates how computers become centers where students learn to use the computer as a tool with which to experiment and make choices. The results of these experiments are then applied to their art work. (KO)

Suggests that the aesthetic positions James Joyce expresses in his work have an independent intellectual value in understanding gifted childrens' aesthetic development. Discusses and critiques Joyce's theory on the psychology and philosophy of the artist. (KM)

Presents background material and elementary and secondary activity ideas for teaching about the nineteenth-century Japanese artist Katsushika Hokusai and the contemporary Hawaiian artist Masami Teraoka. Compares the artists' ability to synthesize aesthetic elements from the East and West to visualize human concerns that transcend time and place.…

Describes Arts Propel, an undertaking that falls under the auspices of Project Zero which has been designed to investigate practical efforts in educational settings. Discusses findings emerging from the studies generated by Arts Propel. Lists some general trends that are well received by those involved in Project Zero. (KO)

Examines the five progressive stages of Michael Parson's model for understanding aesthetic development: (1) favoritism; (2) beauty and realism; (3) expressiveness; (4) style and form; and (5) autonomy. Argues that the model can be applied to all ages. Uses Parsons' model to show how a congresswoman's level of aesthetic development can influence…

Argues that drawing in art is a visual, intellectual, and emotional act. Provides suggestions for helping students understand these three perceptions. Discusses the impact on curriculum design in art education. (CFR)