An audio-tutorial approach for an art history course taught at San Jose State College in the fall semester 1973 is evaluated by the Project Director and by an Evaluation Consultant. The teaching method combines several techniques: a weekly film presentation, filmstrips and audio tapes to be used in individual audio-tutorial sessions, a study guide…

Some aspects of design common to most studios are discussed. A number of different art and craft processes are described, with the requirements in terms of equipment, storage, and expected use. Discussion is included of examples of planning arrangements of individual studios grouped into three categories--(1) general, multi-purpose studios, (2)…

Over 60 art activities, designed to enhance environmental awareness and incorporate environmental concepts, are outlined in this document. A sample of the activities presented are: decorated notepaper and cards with feathers or weeds; wall plaques of prairie plants; methods of flower preservation; water plant prints; construction of dolls,…

This document presents statistical data on the status of women in full-time teaching positions in 164 college and university art departments. This status can best be summarized by the relationship, "the higher, the fewer." The percentage of women at various faculty ranks decreases steadily from instructor to full professor. Necessarily, the…

Investigates Michael Polanyi's theory of emergence of the framework for tacit (personal) knowing, its function in the reasoning process, and the significant role art can play in the development of personal knowledge. States that intensive study of works of art will enable students to make discriminating choices that ultimately evolve into personal…

Presents a lesson on George Wesley Bellows's 1910 painting, "Polo At Lakewood." This lesson is designed to introduce senior high students to the theme of genre painting. (BSR)

The purpose of this study was to determine the extent to which cultural biases contribute to the effect of verbalization on comprehending the structures and meaning of art in the United States, Brazil, and Egypt. Findings indicate a verbal task instructing viewers to generate their own title for each work promoted superior retention in all three…

This article describes how recent changes in public support for art have diversified and expanded the role of art in everyday life. Maintains that this new presence of art in society has created the need for revitalizing art education. (JDH)

This article examines why both the individual-centered and discipline-centered approaches to art education lack social relevance. Maintains that the lack of a social orientation in these two approaches is due to our social context and our capitalistic system. Proposes that democratic principles serve as the basis of a socially relevant,…

This article describes a program of the Herron Gallery of Contemporary Art and the Art Education Department at Indiana University-Indianapolis. Called the "Art-to-School Program," it provides experiences with contemporary art for public school students in grades K through 12. (JDH)

This article reviews the major components of Viktor Lowenfeld's approach to art education, devoting specific attention to the misconceptions often attributed to his use of developmental stages. Notes that Lowenfeld was not the first individual to describe developmental stages in art learning and promotes a more accurate interpretation of how…

This article addresses the difficulties associated with identifying and communicating about colors. Specific attention is devoted to the color red as it is symbolized in British and American cultures. Concludes that there is a great deal more to the learning of color than having students learn a vocabulary of color terms and designating correctly…

Presents a lesson on John F. Peto's 1904/1906 painting "A Closet Door." The lesson is intended to introduce students in grades four through six to still life painting. (JDH)

Based on Stuart Davis's 1925 painting, "Super Table," the goal of this lesson is to introduce students in grades 10 through 12 to the formal characteristics of early twentieth-century modernism and to show how Davis captures the unique atmosphere of U.S. life in the 1920s by his abstract style. (JDH)