Proposes an alternative to discipline-based art education (DBAE) called Aesthetic Response Theory (A*R*T*). Reviews problems of DBAE and outlines a curriculum based on the A*R*T* alternative. Concludes that the A*R*T* approach makes the serious study of art more feasible for classroom teachers. (BR)

Calls for discontinuing the teaching of the "masterpieces" and modern art in the British primary school. Argues that images of a wider, more accessible kind should form basis of primary visual education. Concludes that children should have a foundation in disciplines such as history, sociology, and art before sophisticated visuals are…

This paper examines art instruction in elementary and secondary schools, focusing mainly on the major shift in theory and practice which began in the early 1960s. Offers a broad view of art and emphasizes the importance of discipline-based art education in the K-12 curriculum. (JDH)

The International Sweethearts of Rhythm, a popular, long-lived, all-female jazz band of the 1940s, were the first racially integrated women's band in America. Their achievement has been largely neglected by music historians. A brief history of the band is presented, and their significance is discussed. (BJV)

Offers an overview of the meaning and development of traditional Flemish and French still life painting. States that art history, as well as technical process, must be taught for discipline based art education to be effective. Describes Flemish still life classifications, eighteenth and nineteenth century French works, and still life symbolism.…

Provides practical information about what high school seniors must know and do in order to successfully apply to college art departments. Areas of recommendations include art knowledge, preparing an art portfolio, selecting a college, choosing a major, and surviving the first year. (JDH)

Presents a lesson plan based on John Singleton Copley's 1795 oil painting, "Portrait of Nathaniel Hurd." The goal of the lesson is to give students in grades four through six an awareness of portraiture and how portraits record not only character but historical times and customs. (JDH)

"At the Piano," an oil-on-canvas painting completed in 1859 by James Abbot McNeill Whistler, is used as the basis of a lesson designed to help junior high school students analyze the painting's mood, subject matter, and composition. (JDH)

Caricatures produced between the end of the Civil War and World War II--cartoons in humor and satire weeklies, newspaper comics, posters, advertising, book illustrations, etc.--sanctioned ethnic and racial slurs. Jews were presented as negative stereotypes, characterized most often by stealth and derision. (LHW)

The discipline-based view of art education requires that students progress in all of the four domains of art learning: art history, art criticism, aesthetic appreciation, and creative production. Evaluation methods in each of these domains are discussed. (RM)

The historical process by which the modern art museum has come into being is explored, and how the art museum has established itself as an instrument of culture and a primary agency in the task of aesthetic education is discussed. (RM)

How a seventh grade teacher incorporated art history into a 12-week unit on drawing, painting, color, ceramics, printing, and sculpture is discussed; an art program that involves sixth graders in preparing one-artist shows is described; and suggestions for developing a permanent high school art gallery are presented. (RM)

Discussed are historical methods, adapted from genealogy, that will help the field of art education locate art educators or their descendants who might have documents or notes that would aid in painting a more accurate picture of art education in the 20th century. (RM)

Studio art education is being affected by dramatic changes in the art world, including the development of a postmodern aesthetic, the use of video cameras as artistic tools, the availability of better and cheaper computers for generating graphic images, and the development of alternative galleries. (IS)

Lowenfeld enjoined teachers never to permit children to copy art works because children's art was such a crucial part of the self. Yet by rejecting all copying, one can place too great a value on novelty and miss the essence of Lowenfeld's emphasis on the individual child's experience. (IS)