This study examines the key concepts of elements-and-principles art instruction, as defined in the publications by "Vorkurs" (preliminary course) instructors at the Bauhaus. Elements-and-principles instruction was for decades central to formalist art training, and continues to play a role, albeit limited, today. Preceding accounts of the…

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;…

This paper seeks to re-evaluate the pedagogical and curricular influence of Fluxus artists who have been under addressed in curriculum studies scholarship. Between the late 1950s and early 1970s this group of avant-garde artist-pedagogues experimented with new ways to think about curriculum and pedagogy in institutes of higher education and in…

Art Appreciation is often a course that undergraduate students take to meet their general education requirements. However, many students have little interest or value of art due to a lack of previous art experiences and often choose the course because they feel it will be relatively easy. This qualitative, naturalistic inquiry focused on students'…

This case study of an art education program for medical students examines the efficacy of different types of content and modes of delivery. Through the delivery of art analysis, art history, sculpting, and life drawing seminars, art educators were able to teach empathy, observation, and flexible thinking to first-year medical students. This…

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…

Purpose: Conducting contemporary art lessons with a traditional art history view and a chronological approach leads to misinterpretations - and even to prejudices - of contemporary art as it is not progressing chronologically, cannot be assessed within specific stylistic forms and defined with strict lines, unlike previous traditional art…

An interdisciplinary approach to science education through history of art is proposed. The approach is innovative, as the artworks complement the history, philosophy and sociology of science contents to increase students' interest and motivation. The approach integrates humanities and science education through history of art, which requests…

How can museum educators create dialogical experiences with European decorative arts? This question frames my essay and stems from the challenges I have faced introducing objects whose original functions seem to overshadow their aesthetic and interpretive value. Repeated efforts to spark rich dialogue and collective interpretation around pieces of…

Inspired by the affective and sensory turns in the paradigm of art history, this article discusses making pictures as a method of teaching art history in Finnish Upper Secondary Vocational Education and Training (Qualification in Visual Expression, Study Programmes in Visual and Media Arts and Photography). A total of 25 students majoring in…

Traditionally, the learning of arts in the Estonian primary school has meant completion of practical assignments given by the teacher. The new national curriculum for basic school adopted in 2010 sets out new requirements for art education where the emphasis, in addition to practical assignments, is on discussion and understanding of art. The…

While remaining cognizant of several aspects of current information literacy (IL) instruction methods, including threshold concepts, the author re-created experiences shared by students as she searched for, analyzed, and compiled resources pertaining to the Renaissance. Good IL instruction supports education of the whole person, develops new modes…

In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…

What does an introduction to and engagement in performance art offer K-12 students? In this article, we respond to this question by proposing a lesson inspired by the artmaking practices of the contemporary artist Erwin Wurm. Performance art can be defined as any form of work that combines the artist's body and a live-action event with or…

Collecting and placing images/objects of inspiration and personal significance is not an uncommon practice for studio artists. Washington based mixed-media/installation artist Renee Stout draws from the collections she displays in her studio and in her home. She is an avid collector of various objects, including vintage perfumes, West African…