Outlines a community-level approach to art education history by examining the art education community. Reviews complexity science concepts and organizational and educational change theory. Discusses the application of community to historical inquiry in the form of community-level studies. Includes references. (CMK)

Describes how Zen and the art of pottery expand into a Great Tradition where the potter dreams his forms in a realm of imagination between sense and mind. Explains how decoration plays a vital role connecting art and our life-world. Outlines how students need a decade to reach this spiritual level. (KM)

Relates that art education has not been an integral part of the university curriculum. Contends that the recent emphasis on design education in universities and the discipline based art education movement in the public schools have a great deal in common that might enhance curriculum development at both the university level and in the public…

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)

Examines Vincent Scully's work as teacher, writer, and critic. This reminisce by a former student also lauds Scully's role as mentor to several generations of art historians. Briefly covers his work on behalf of historic preservation and discusses two seminal works, "American Architecture and Urbanism" and "The Earth, the Temple,…

The origin and development of two African saints are discussed: Saint Maurice, patron saint of the eastern empire of Otto I; and Caspar, the youngest of the three Magi. Their representation in German art is described and illustrated. (Author/LB)

Driven by mandates to serve and educate their communities and by political and financial pressures, museum's are seeking ways to alter their so-called elitist attitudes to draw in a more diverse group of visitors than they were able to in the past. Focuses on the Brooklyn Museum. (LZ)

Compares Oskar Kokoschka's teaching practices with American Progressive Education literature. Observes that the latter stresses the need for practicing artists to teach in the schools. Evaluates the strengths and weaknesses of the artist-in-the-classroom concept revealed in light of Kokoschka's practices. (KM)

Presents four classroom lessons designed for elementary and secondary students based on paintings in the Amon Carter Museum in Fort Worth, Texas. Provides an overall goal, specific objectives, background of the painting, and suggestions for discussion and activities for each painting. Includes full-page color prints of each painting. (CFR)

Identifies and responds to criticisms of discipline-based art education (DBAE). Shows how it is an all-inclusive program that responds to the needs of all students. Analyzes factors that relate to self-esteem and demonstrates how DBAE enhances it. Describes a typical lesson and case studies to support this argument. (KM)

Discusses formalist/universalist, personal response/ antiformalist, and pluralist approaches to aesthetics. Recommends using a pluralist approach because it accounts for the aesthetic principles of non-Western art forms. Discusses pluralism in art education and how the criteria of Western aesthetics are now being challenged by art educators. (KM)

Reports the effects of art-history instruction on students' abilities to interpret artwork contextually. Confirms that eighth-grade students are more successful in contextual interpretation; students at both levels can use successfully the historical artist perspective; and art-history instruction at both levels increases students' ability to…

Seeks hard evidence from high school art teachers that a studio curriculum promotes global understanding and appreciation of artwork, including historical art. Indicates that studio experiences alone do not enhance students' ability to understand or appreciate well-known historical artwork but that including critical and historical inquiry…

Argues that Web has become a major art medium. Investigates ways artists and appreciators of art are using the Web. Discusses the reproduction of art: from hand to mechanical to digital reproduction, focusing on the work of Walter Benjamin. Lists other sites where one can find art on the Web. (SR)

Offers a biographical account of Helen Gardner's life and work in art history. Addresses the influence her book entitled "Art through the Ages" had on art education after its first publication, discusses why the book has been in print for 70 years, and considers Gardner's role in the success of her books. (CMK)