Describes an secondary art education course using the principles of discipline-based art education (DBAE). Argues that art production techniques and studio art must be included with the DBAE approach for a successful program. Provides an overview of the course content and teaching methods used in the program. (CFR)

For art to become a discipline of study in the schools, art programs should be structured in ways that benefit the majority of students, not just a talented few, and must contain substantive content sequenced across all grade levels in a written curriculum. The development of discipline-based art education started in 1965 with the Pennsylvania…

Profiles the Wilmette, Illinois, school district's experience when revising their art curriculum. Maintains that the art staff's commitment to revision is the motivating force, and suggests an outline for a revision plan. Outlines curriculum writing procedures, the contents of an art curriculum, and the advantages of curriculum writing. (KM)

This guide was designed to provide a sequential art program for grades kindergarten through 12 and to assist teachers and administrators in maximizing the use of available resources. The program also reflects recent trends in art education that encourage the development of understanding and appreciation of art heritage, aesthetic perception and…

Traces major directions of feminist inquiry in the disciplines of art history, art criticism, and aesthetics. Explores how first- and second-generation feminist scholars have challenged the canon of each discipline and the understanding of art traditionally produced. Draws implications for art education in curriculum development and teacher…

Discusses purposes of the arts in early childhood education. Examines some of the contemporary proposals for art in early childhood programs, including discipline-based art education. Suggests a framework for selecting art activities for early childhood programs and provides examples of appropriate activities for young children. (CFR)

Asserts that content-based art education, which is dominated by discipline-based art education at the elementary level, is also represented by a secondary model developed within the International Baccalaureate Program. Maintains that the program provides a content-based structure and fosters thinking skills, creativity, and critical appreciation.…

Asserts that art history and art criticism have not met the needs and aspirations of female students. Maintains that teaching embroidery can help teach about a history of female oppression. Describes how this approach is used in the classroom. (CFR)

Presents an art education model based on Elliot Eisner's three-domain model, emphasizing students' concept ownership and skill development. Criticizes late-modernism influenced practices, arguing creativity can be achieved only through tradition. Diagrams relationships between what art students learn in college and how they later teach. (KM)

Maintains that computers have provided a creative device for image creation and enhancement for visual arts educators. Traces the development of educational technology in art education from the 1940s to the present. Describes a four-part "visualization center" that will be the center for art education programs in the future. (CFR)

Discusses the relationship between feminism and art education. Maintains that the role of women in art education research and curriculum development has made the field more compatible and congenial for women. (CFR)