This historical research provides an examination of the embroidered word as a visual art piece, from early traditional examples to contemporary forms. It is intended to encourage appreciation of embroidery as an art form and to stimulate discussion about the role of historical contexts in the studio education of artists at the university level.…

In September 2008 the author created an encounter between herself and Rick Walker, the Director of Cartwheel Arts, a small community arts company in Rochdale, in the North West of England. As one of the three founding workers of what was then Cartwheel Community Arts in 1984, she hoped to create a conversation which recollected or traced some of…

This introductory volume of the five-part series, "Disciplines in Art Education: Contexts of Understanding," provides a philosophical rationale for the idea of discipline-based art education. The idea models humanistic fundamentals by answering the basic human needs to communicate and share experiences with others (art making), find a place in…

A focus on school reform within the field of elementary education has brought an arts-integrated approach to teaching and learning to the forefront. This is not a new approach, as integrating what many call "hands-on activities" in the classroom is quite common. The difference lies in the quality and depth of the approach to teaching and learning,…

This paper traces some of the early 20th century roots of aesthetic formalism as they came to effect the development of art education theory and practice in this country up to the beginning of the Second World War. The paper focuses on American sources and on the writings and ideas of Benman Ross, Arthur Wesley Dow, J. Hambidge, Albert C. Barnes,…

A prevailing assumption of Western theorizing about art is that each work of fine art is to be attributed to a single individual, "the artist" who created it. Art education, particularly in art history, reflects this assumption. Despite the "New Art History" of the 1980s that revised and diversified the canon, education in art history remains a…

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines:…

Rudolph Arnheim combined his knowledge of psychology with a love of art and interest in the artist. This paper describes his deep contact with the work of art in all of his endeavors and his almost single-handed establishment of a psychology of art movement in the United States. Rudolph Arnheim focussed his effort in writing and research rather…

Argues that studying professional art critics can provide material for studying art criticism in the classroom. Focuses on the published work of Lawrence Alloway. Describes how his work covered a wide range of artists and movements and how he was politically proactive in promoting underrepresented populations of artists. (KM)

Ohio schools have developed a Balanced Comprehensive Art Curriculum (BCAC) that includes art history, art criticism, and art in society as well as traditional art production. Students in kindergarten through 12th grade receive equitable instruction in all four curriculum areas. Includes a resource list and table. (MD)

Reviews gender-related issues that might arise as students are introduced to women's art achievements. Divides women's art into mainstream art and "hiddenstream" art, or art represented by work in textiles, ceramics, and miscellaneous art forms. Includes a chart which shows the name and nationality of over 90 female artists working between 1390…

Defines art history by examining visual and contextual information and distinguishes between the fine and applied arts. Discusses scientific neutrality and the personal and social uses of art. Concludes that it is impossible for art historians to be truly objective, but this should not be problematic because art historians interpret art works for…

Questions the use of professional artists as appropriate role models for students learning about art making in the classroom. Examines a biography of one artist and reviews research on the psychological and social circumstances that facilitate art production. Suggests that the creation of those circumstances in the classroom would be complicated.…

This article examines discipline-based art education (DBAE) issues for their origins, meanings, and implications. The issues are discussed within four general categories of conceptual structure, curriculum selections, research foundations, and organizational affiliations. (Author/JDH)

Examines the theory that the Norman commissioned Bayeux Tapestry carries a hidden message which tells the Anglo-Saxon version of the Norman Conquest. Stresses that studies of this nature demand an interdisciplinary approach. Notes that historical and artistic influences must be considered in determining the artist's intent. (KO)