Described is a college-level art activity that teaches aesthetic literacy to entry-level art education majors. Students are asked to bring to class and to discuss two objects--one, an art object, and the other a nonart object. The article also presents thematic categories for the generation of aesthetic concepts. (RM)

A group of young children were studied to investigate their ability to sense expressive qualities in art and to respond to verbal clues which describe these qualities. Results are presented. (DF)

Outlines the philosophical dimensions of aesthetics, devoting particular attention to the development of a rationale for aesthetics in the public schools. (JDH)

Aesthetic value enhances personal and professional lives and contributes to people's environment. If one defines the aesthetic sense as the faculty that enables one to modify the quality of his or her environment, then it follows that aesthetic education should be a means to achieve this end. In order for that to happen, there must be changes both…

A model for the teaching of aesthetic dialogue to intermediate grade students is presented. One outcome of children discussing the aesthetic structure of art is that they transfer this learning and structure to other areas of their life. (Author/RM)

Aesthetic education has attempted to teach art history and criticism, along with providing traditional art activities. The viability of aesthetic education is criticized, and a step beyond it is suggested. The purpose of this new direction, aesthetic literacy, is to ensure that students become knowledgeable consumers of the visual arts. (CS)

There is no natural or genetically determined talent for aesthetic appreciation, but at most a widely distributed capacity that, fortified by interest, can be developed. The aesthetic experience should be cultivated but for its own sake. (RM)

Ivan Albright's 1929 oil-on-canvas painting called "Into the World There Came a Soul Called Ida" is used as the vehicle for a senior high school art lesson designed to introduce students to symbolism, aesthetic issues, and the formal elements of painting. (JDH)

Whether or not knowledge about the painter Picasso is helpful or indispensable in teaching appreciation of his art is discussed. Three studies by Denis Thomas, Mary M. Gedo, and Frank Elgar that argue that knowledge of Picasso the man helps students understand his paintings are examined. (RM)

The puzzling quality of modern art, in both its complexity and its simplicity, symbolizes a barrier between the student and the elite's privilege of power. Too frequently, students have been taught that art is a secret, a code to which only teachers have the key, and that there is only one correct interpretation of a work, which must be imparted…

The natural graphic talents of very young children do not deteriorate with age. Rather, aesthetic symbols are progressively devalued in the curriculum. Greater acknowledgement of the importance of graphic symbolization will improve symbolic literacy and contribute to cognitive development. (SK)

The way the author's experiences of the city of Pittsburgh (Pennsylvania) shaped her visual literacy are explored. Along with the imagery of the steel mills, she experienced some artistic opportunities that helped shape the foundation of her life in art. Although no American city was as extensively industrialized as Pittsburgh, it was the artistic…

Designed for professionals who design and develop instructional materials, this paper identifies specific and general strategies that educational technologists can employ in their media productions to enhance aesthetic awareness. A brief overview of aesthetics and aesthetic education is provided, including definitions and various approaches to…

This paper distinguishes several closely interrelated aesthetics terms, establishes criteria for and facets of the aesthetic experience, and examines aesthetic theories which have guided values systems for imagery of the past and present. These include: (1) mimetic theories of art as imitation; (2) instrumental theories of art as teacher; (3)…

In 1899, the Committee of Ten on Drawing, organized by the National Education Association, proposed that one of the main goals of art education should be "to offer a consistent development in the faculty of sight." Art appreciation was centered on the literal translation of the painting. Importance was placed on connecting the painter's…