Presented is an exchange between Rudolf Arnheim and the author, including questions from the audience, which took place at the 1983 National Art Education Association Conference. Arnheim discusses points of interest to art educators, including his background, education, and interest in psychology of art, and the themes of his books. (Author/RM)

The first step in learning to appreciate art is learning to classify a work according to its primary purpose. The artist creates art for one of three reasons: to recreate the physical world (Imitationalism); to express an idea or feeling (Emotionalism); or to create an interesting design (Formalism). A classified work may then be critiqued by: (1)…

Author's thesis is that one can achieve a knowledge of the basic foundations within the art discipline and transfer the given terminology to other arts disciplines to expand the educational experiences of the student with lifetime meaningful ramifications. (Author/RK)

Teacher discusses how string pictures can stimulate a student's creative imagination and perception. (GB)

Analyzed two sets of Japanese children's artworks, one in the graphic narrative style, the other, school art in the "high" art tradition. Argues that art derived from popular models provides children with important ways to investigate meaningful dimensions of the world and to experiment with life's major themes, dimensions of meaning…

Provides historical information on the art movement of Precisionism. Includes teaching activities and a reproduction of an artwork, "Conversation: Sky and Earth" (Charles Sheeler). Focuses on the life and career of Sheeler and discusses the content of the painting. (CMK)

Explores a set of principles as a guide to art interpretation in "Criticizing Art: Understanding the Contemporary." States that responding to works of art is a means to interpretation, focuses on personal and communal interpretations, and addresses the issues of multiple interpretations of artworks. Includes references. (CMK)

Suggests that change in art education will be brought about by the initiation of discipline-based art education (DBAE), the wide support given to proposals for programmatic and systemic change, and changing world views. Characterizes DBAE as part of modernity, and contends that a postmodern world needs a more subjective art education curriculum.…

This lesson plan introduces students (grades four-six) to Creole New Orleans architecture exemplified by "Sun Oak" in the Faubourg Marigny section of the city. Students will learn architectural terms; use line and shape in relation to architectural details; discuss why buildings work architecturally; and draw an historic building using…

Discusses the status of fine arts in English higher education. Examines the relationship between fine arts and design education. States that fine arts education has professional relevance as a substantial number of graduates pursue careers which contribute to the wealth-producing sectors of the economy. (GEA)

Explores the material nature of language in practices that construct pupils as subjects in art curricula. Shows that assessment practices can pathologize what may be, for pupils, powerful and legitimate art practices. Examines how a more inclusive and legitimating construction of pupils as subjects involved in drawing practice is possible. (DSK)

Explores the nature of images created by Paleolithic artists and autistic artists in regard to drawing techniques and image function. Explains the commonalities based on a discussion of the role of the early vision process and the construction of meaning. Notes the importance of this research for understanding autistic artists. (DSK)

Provides information on marine painting, the historical treatment of its subject matter, and its stylistic development. Discusses and includes reproductions of paintings, from the marine collection of the Butler Institute of American Art, by Robert Swain Gifford, Stuart Davis, Alfred Thompson Bricher, Augustus V. Tack, and James E. Buttersworth.…

Investigates end-users' queries by comparing the features of the queries to those identified in previous. Participants, 29 college students majoring in art history, were required to finish a term paper including at least 20 images. Participants' image queries were collected by pre- and post-search questionnaires, and three human reviewers mapped…