Suggests that observing, photographing, and discussing local buildings and places can help students form opinions about the built environment, the art form they experience most of the time. Presents some teaching ideas from existing photography-in-the-built-environment projects in Britain and the United States. (Author/SJL)

Describes how the Art/Art History Department at the University of California at Davis are using QBIC (TM) (Query By Image Content) image query software as a tool for managing and retrieving images from online collections of digitized artwork. Two databases were created: a Web site linked to the department's home page and a non-web version that…

Provides background information on the lives and works of Michelangelo and Leonardo da Vinci. Focuses on the artwork of the artists and the museums where their work is displayed. Includes museum photographs of their work. (CMK)

Explores the life and work of the artist, Winslow Homer, a 19th century painter and illustrator. Focuses on the exhibition, "Winslow Homer the Illustrator: His Wood Engravings, 1857-1888." Includes the itinerary for the exhibition and examples of his illustrations. (CMK)

Provides background information on the life and career of Charles Rogers Grooms, better known as Red Grooms. Describes the art exhibit, "Red Grooms: Selections from the Graphic Work," presented by the Tennessee State Museum (Nashville, Tennessee). (CMK)

Provides a historical context on the issue of women dressing in clothing traditionally worn by men. Focuses on the lives, loves, and careers of Rosa Bonheur, Romaine Brooks, and Gluck (Hannah Gluckstein) who were artists who used clothing to express their sexual identity. (CMK)

Discusses Viktor Lowenfeld's influence on art education in general. Assesses the impact of popular culture on perceptions of art and art education, arguing that to be of value, art education must surpass contemporary culture and introduce students to the larger storehouse of human history and achievement. (GEA)

Explores the underlying concepts involved in the design of art scholarly databases and describes three systems definition projects currently in progress. The discussion covers the revisions of MARC formats and authority controls used in bibliographic information networks that might support an art scholarly database. (eight references) (CLB)

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…

This third report from a project conducted by the Getty Art History Information Program presents results of interviews conducted with visiting scholars regarding their experiences searching DIALOG databases, the role the searching took in their research, and their attitudes about the future of online searching in the humanities. (LRW)

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…

In the mid-nineteenth century, an abrupt transformation occurred in textiles and other art forms of northeastern Woodlands Indians. Trade, tourism, and survival needs sparked changes in materials used and garment types produced, as well as substitution of a new vocabulary of floral imagery for "pagan" iconographic traditions. (SV)

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.…

Describes the development of a course bridging the theory of art history and the practice of studio art courses at St. Olaf College (Minnesota). Addresses the gap often found in higher education between the visual and liberal arts. Discusses the trials and elations of designing a course that overlaps these traditional boundaries. (DSK)

Argues that in an art world dominated by critical theory the contribution of painting to society and education is not firmly established. Reviews challenges from critical theory to painting and constructs an alternative relationship between them. Articulates how concepts in critical theory are informed and extended by painting. (DSK)