Different and competing conceptions of knowledge have recently been the focus of debate in education, especially art education. The cognitive science conception of knowledge as information processing and storage in long-term memory is especially prominent in educational policy. By contrast, within writing that is directly about art education,…

Ralph Pearson's Design Workshop was a center of progressive art education in New York. However, based on the correspondence courses that he developed, he was able to reach artists and art educators across the United States. Women artists and art educators dominated his courses and went on to play an important role in spreading progressive art…

African American artists have participated in every major art style and movement since before the founding of this nation. However, until recent decades, this "grand epic" had been marginalized within the traditional survey canon of American art. Art historians have undertaken considerable scholarship (Bearden & Henderson, 1993;…

Art and design students in higher education often prioritize design skills over written communication. With the opportunity to restructure courses around increased asynchronous flexibility arising from the COVID-19 pandemic, the author of this manuscript (who is also the course instructor) has developed a hybrid-blended course design in the art…

This article investigates the ways in which drawing is taught and assessed in post-16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From…

Contextual studies (CS), "theory", "visual culture" or "art history" (amongst other labels) refer to a regular and often compulsory feature in art and design education. However, this takes many forms and can sit in a variety of relationships with the practical elements of such courses. This article is based on mixed…

To be effective and relevant in twenty-first-century learning, art needs to be more inclusive. In this article, the author discusses how teachers can find a good example in Leonardo da Vinci for building an art program. His art, design, and curiosity are the perfect foundation for any art program, at any level. (Contains 3 resources and 3 online…

ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi-user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS…

There is a dominant history of art and design education in Britain. This has been established by five books published in the 1960s and 1970s. They are Quentin Bell's The Schools of Design (1963), Gordon Sutton's Artisan or Artist(1967), Richard Carline's Draw They Must(1968), Stuart Macdonald's The History and Philosophy of Art Education (1970),…

Examines some problems in teaching art history to students in a fine arts program. Argues that art history should be taught as the history of recurring artistic problems. (Author/RKM)

Discusses an art exhibit, "The Age of Armor," presented by the Higgins Armory Museum (Worcester, Massachusetts). Includes the itinerary for the exhibit. Provides background information on armor as an artform and examples of armor. (CMK)

Describes changes in the British secondary school examination system, highlighting Dyson's contributions to the reform process. Recognizing that there are several ways to teach art history, Dyson considers the preparation of teachers, discusses the development of art history as an academic discipline, and specifically addresses the matter of art…

The author's art instruction for young Egyptian children focuses on design, creative expression, and appreciation of Egypt's unique artistic tradition. This article is one of several in this issue on art education in other countries. (SJL)

Focuses on works of art that are serpentine, which means the artist either depicts snakes or use snake-like designs. Explains that the four examples given are to motivate students to search for more examples. Discusses different ways to help students learn about serpentine designs by observing real snakes. (CMK)

Discusses spirals in nature, man-made objects, and art. Focuses on art that incorporates the spiral, including works by M. C. Escher and Frank Lloyd Wright, an African headdress, and a burial urn. Describes activities to help students make spirals of their own, such as constructing a coil clay pot. (CMK)