Proposes that teachers use children's literature to introduce art history to elementary students. Provides strategies for this approach and suggests several children's books for consideration. (MG)

Questions the origin of design history and its relationship to art history. Maintains that design historical knowledge is produced, and it must be acknowledged that there are design histories and not one monolithic body of knowledge. (KM)

Maintains that in recent years there has been an increasing interest in the history of art education and art education associations. Describes how the Texas Art Education Association has collected and documented material from its past. Points out that art education students can use this information to place current trends in perspective. (KM)

Explains the rationale for including art in the general education curriculum and expanding the studio orientation to include art criticism, art history, and aesthetics. Advocates a balanced, integrated curriculum that resembles artists' ways of confronting, experiencing, and producing art and meets students' multicultural needs. (MLH)

Describes origins of the constructed relief and shows some examples of contemporary artists' work. Suggests using this history to motivate students to construct their own reliefs. Outlines a four-step lesson: preliminary drawing, finished drawing, mock-up relief, and finished construction using durable materials, such as wood, acrylic sheet, or…

Discusses the future of art education in relation to changing demographics, technologies, values, and art forms. Reiterates two basic theories of art education: a separate subject with a defined place in the curriculum or a decentralized approach in which teacher involvement in the planning process has priority. (GG)

Maintains that the study of art history should be learning about all forms of art work from every culture and relating it to the present. Describes how one art teacher uses puppetry to actively involve students in art history. Recommends that teachers look to the great teachers and their own teaching for such lessons. (KM)

Describes the nature of intellectual access to digitized art images using qualitative methodologies based on a study at the University of Central Florida. Queries of art historians are analyzed and compared to retrieval parameters and image characteristics, and implications for database design are suggested. (Author/LRW)

Uses Josiah Wedgwood and the pottery industry in England to illustrate the theme of technological development in a unit on the Industrial Revolution. States that infusing the biography of a specific individual can enliven history instruction. Presents two lessons on Josiah Wedgwood and shows how historians use the material culture to understand…

Examines the five progressive stages of Michael Parson's model for understanding aesthetic development: (1) favoritism; (2) beauty and realism; (3) expressiveness; (4) style and form; and (5) autonomy. Argues that the model can be applied to all ages. Uses Parsons' model to show how a congresswoman's level of aesthetic development can influence…

An active learning method incorporated into one college teacher's art history survey classes encourages students to begin to express ideas about what they see through three stages of a learning cycle: exploration, invention, and application. The method can be used in almost any field and has special advantages for introductory courses. (MSE)

Discusses an apparent case of censorship via card catalog indexing in a Florentine research library. The challenge to the authenticity of a fresco by Simone Martini is explained, the ethics of collegiality are considered, and attempts to find redress through various library associations are recounted. (18 references) (LRW)

Illustrates how historical art education metaphors objectify and stereotype the environment through landscape art. Proposes a new metaphor of art teaching, ecological pedagogy, as a means of critiquing stereotypes and of promoting compassionate and caring representations of the environment. Offers strategies for implementing an ecological art…

Argues that developments over the past twenty-five years in feminist art, art criticism, and action have allowed insights into the work of women artists. Explores feminist artwork, feminist context(s), and the author's personal development as a woman, artist, teacher, and participant in the communities that affected her development. (DSK)

Presents an art lesson for second-grade students that was inspired by the book "Grandpa's Face" by Eloise Greenfield. Comments that the students each wrote a descriptions of their grandfather's face, compared the artwork of Chuck Close and Vincent Van Gogh, and then made clay representations of their grandfather's face using abstract…