Aimed at advancement of the arts through improvement of education for both understanding and production, this long range basic research program dealt primarily with the study of the varieties and interaction of human abilities, the nature of the tasks involved in the several arts, and the available means for inculcating or fostering the abilities…

Examines the recent emphasis on aesthetics, which goes beyond the scope of a didactics of art education, stating that it is a symptom of the German cultural-historical situation. Sketches tentative approaches to research questions on aesthetic education. Questions whether aesthetic education must be conceived in the form of reflections on…

The oldest and most romanticized and misunderstood of American cultural underpinnings are the cultural and artistic contributions of American Indians. A bibliography of materials that will stimulate awareness of native peoples and their problems and form a basis for understanding contemporary Indian art is presented. (RM)

The author critiques Smith's assertions that (1) there is such a thing as elitism in an educational context, (2) artwork can engender a heightened experience and (3) the careful choosing of exemplary pieces of art as instructional materials for art education is necessary to help students achieve the aesthetic experience. (RM)

A cross-cultural, international perspective on art in education constitutes a humanistic activity that must allow for recognition of human commonalities and at the same time a respect for human differences. (RM)

This paper notes historical and contemporary issues in the women's art movement concerning the making and marketing of art and cites examples of the movement's educational efforts. From these observations comes a discussion of the role of art education with regard to feminist, artistic, and educational issues. (Author/SJL)

The arts are in trouble in the public schools, says the author. This article is intended to clarify the kind of investigation that artists and educators are counting on to supply some support for the balanced curriculum, that is, the inclusion of the arts in public education. (Author/KC)

Explores the use of family stories within art education. Discusses how students can find stories at home and the importance of finding one's self-identity through stories. Focuses on how students in a college art appreciation course create masks for story telling. Includes examples of student work. (CMK)

Explains that at the end of a middle school's quarter, the author's students were asked to share their feelings about art in one sentence. The students' comments were made into a poster to display their ideas as a class. (CMK)

Discusses how to use art in introductory political theory courses. Provides examples of incorporating art to teach political theory, such as examining Machiavelli's "The Prince" and Michelangelo's "David" to understand Florentine (Florence, Italy) political theory. (CMK)

Presents a lesson plan developed around the work of architectural muralist Richard Haas. Discusses the significance of mural painting and gives key concepts for the lesson. Lists class activities for the elementary and secondary grades. Provides a photograph of the Haas mural on the Fountainbleau Hilton Hotel, 1986. (GG)

States that the critical work for art educators will continue to be curriculum development and implementation. Claims that an emergent issue for art education is a community-relevant, developmentally appropriate curriculum. Discusses issues facing curriculum developers and outlines criteria for the art education curriculum. (GG)

Presents lesson plans for grades K-3 based on 4 well-known paintings Discusses historical background and cultural impact of the paintings. Provides student activities and assessment suggestions. (CFR)

Discusses Paulo Freire and his influence on the perspective and application of literacy programming and interdisciplinary education through the arts. Argues that Freire's pedagogical philosophy and application illustrates the value he placed on education through life experiences, the arts, and cultures of the people. (DSK)

Points out shortcomings of instructional methods derived from art criticism, viewed either as a set of procedures for critiquing artwork or as metacognitive principles for reflective thinking about artwork. Proposes a model of critical-inquiry instruction based upon three instructional activities: personal response, student research, and concept…