The intent of this document is to provide local school districts with a guide to current knowledge in the visual arts, such that by using the guide, districts should be able to develop their own curriculum documents tailored to the needs of their students. The basic premise of the guide is that each student in the state of Arizona should have…

Art exhibits on college campuses not only foster aesthetic appreciation and knowledge, but they also stimulate and encourage community involvement. In New Mexico, public and institutional policies permit the purchase of art to enhance public buildings, including institutions of higher education. At Eastern New Mexico University's Clovis Campus…

The book contains 30 speeches from a conference held in 1976 to develop a national agenda for research and development in the arts and education. The conference was sponsored jointly by CEMREL, Inc., and the Aspen Institute for Humanistic Studies. Participants included educators, administrators, and researchers involved in philosophy, art, music,…

The purposes of the paper are to discuss use of a concept formation model in art education and to suggest ways in which teachers might plan and develop art instructional activities consistent with the model. Based upon a social studies model designed along the lines of Robert Gagne's learning theory, the art education model utilizes rule, concept,…

The guide offers information on art to help school administrators adapt the instructional environment so that it will enhance art education in grades K-12. It is presented in nine sections. Section I reviews and suggests ways of improving the status of art in the general curriculum. This section indicates that art education status is generally…

Formats for testing students in art production, aesthetic perception, art criticism, and art history are discussed in terms of historical precedents, underlying philosophy, reliability, and relevance to instruction. Problems in the measurement of higher-order cognitive and affective expectations of art instruction are presented. (Author/RM)

How Hungarian educators interrelate the arts in education is examined. To integrate aesthetic education, they use two teaching approaches: (1) linguistic integration, i.e., parallel exercises in music, visual arts, literature, and the sciences; and (2) cultural integration, which unites the histories of arts and sciences into one coherent account…

Reprint of the 1966 article as a representative example of thinking about art education during the 1960s. Reiterates the need for aesthetic judgement in art education and discusses those characteristics and approaches that render a judgement valid. Maintains that justification or an aesthetic opinion should be descriptive rather than explanatory.…

Outlines an issue-centered approach to teaching aesthetics, where students identify and analyze possible solutions before learning an aesthetician's viewpoint. Suggests that teachers acquire basic aesthetic knowledge but also be willing to accept planned uncertainty as an educational principle. Presents a fictional art forgery scenario to…

Explains how a veil control method allows secondary students to use oil paints in the classroom without difficulties of control, manageability, and clean up. Outlines how to prepare and apply oil glazes. Maintains that this method enhances students' studio skills and helps them appreciate the works of the great masters. (KM)

Discusses the psychological context of aesthetic literacy in relation to E. D. Hirsch's ideas on cultural literacy. Argues adults should not interpret artworks for children and notes the implications for curriculum planners. Provides examples of childrens' understanding of art works. Maintains that any curriculum is the interaction of content and…

Reports on a three-year study of the operational and formal curricula in the visual arts, music, drama, and dance. Discusses three operational types of art education: (1) the "little intervention" model; (2) the production-oriented curriculum; and (3) the guided-exploration orientation. (CFR)

Considers the career and accomplishments of Colonel Wayland Parker, a late-19th-century educator and reformer. Parker worked to establish art education as an essential part of every school's curriculum. He proposed integrating art into all of the daily subjects and recommended the establishment of studio and workshop spaces. (MJP)

Summarizes interviews with British West Indies children concerning the production of art and the role of the artist. Demonstrates that children's perceptions undergo a shift from naive realism (pretty things make pretty pictures) to a more interpretive stance (the artist's efforts define the final product). (MJP)

Recreates a lively, informal discussion about art between three high school students and an art education professor. The students discuss their backgrounds, experiences creating art, and art preferences. Includes added commentary by the professor. (MJP)