The author begins by defining a counter-aesthetic element as an element of an aesthetic object which is: unintended in the creation of the object; generally selected out in attention to the object; and, generally, if selected in or attended to, such as to lower the aesthetic quality of the object, or at the very least not to increase the quality…

The author of this essay has known Ralph Smith since the late sixties, when he attended the University of Illinois as a graduate student and Smith arrived as an Assistant Professor. Smith has been a major influence in thinking about art education in North America for years and has consistently articulated a point of view of central importance in…

The philosophy of sport is still in a juvenile stage; it lacks overall direction and focus, consequently it takes on many different shapes and forms. In this paper the author outlines a program of research and instruction for the field that will assist in correcting its delinquent ways. Such an outline is now possible because a sufficient amount…

Based on a full-color reproduction of Marc Chagall's painting, "Wild Poppies," the goals of this lesson plan are to introduce students to artist's use of dreams and memories in making art, to communicate the idea that artists include their visual memories of people and things they love in their artwork, and to introduce the concepts of…

Justifies the place of theatre and dramatic arts in the high school curriculum and the importance of educating teacher-directors who can provide students with theatre arts experience. (PD)

The author, a physicist, recounts his experiences in learning art and music and extracts some lessons for art educators from those experiences. (IRT)

All students should learn the language of art to add meaning to their lives. (Author)

The author suggests that justifying arts education, or aesthetic education, through unsound, simplistic principles is detrimental to the arts education movement. She evaluates five myths which should be given up, or at least tempered and investigated. (KC)

Presents background on the aesthetic experience which can be developed into curriculum content for teaching aesthetic literacy at the elementary and secondary grade levels. (Author/SJL)

The need to evaluate student's art with focus on the art-making process rather than the final product is emphasized. (RW)

The author argues for a concept of artist-audience communication that is similar to what Tolstoy had in mind, yet avoids the problems that Tolstoy runs into while reclaiming the insights in his view. The author begins by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications…

In contemporary society, what, why, and how students come to gain knowledge and understandings of art defies traditional boundaries. In part, this is because of the prevalence of many forms of popular visual culture. In this article, the authors present three vignettes that demonstrate the ways in which three young children created connections…

This document is the secondary level visual arts component of the North Dakota Arts Curriculum Project. After a presentation of the philosophy, goals, and objectives for the visual arts program, the guide is organized into four sections. The first section, "Visual Arts Program Components," presents an overview of educational…