The J. Paul Getty Trust (Los Angeles) and the Getty Center for Education in the Arts (Los Angeles) are playing a major role in the development, growth and acceptance of discipline-based art education (DBAE). The influence of the Getty Center is growing; art education is changing; and the existing DBAE theory is evolving. This annotated…

Explores the sources of art criticism and reviews some extant pedagogical models. Outlines the content skills to be developed and the role of art criticism in a discipline-based teacher training curriculum. Recommends that art criticism should incorporate pedagogy and other disciplines of art. (KM)

Efforts to renew cultural literacy and reform arts education sponsored by the National Endowment for the Arts and the Getty Center for Education in the Arts suggest fundamental changes relating to the scope of art curricula. The single greatest drawback of existing art curricula and the guides that teachers use is the emphasis on skill development…

Maintains that teachers and artists are alike in that they are communicators, inquirers, required to know themselves, trained to think qualitatively, concerned with technique, and evaluated by their work. Argues that using the model of the teacher as artist is superior to using only technical and quantifiable methods. (CFR)

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…

Shows how discipline-based art education developed, and relates it to Thomas S. Kuhn's theory of paradigm shifts. Critiques Gilbert Clark, Michael Day, and W. Dwaine Greer's theory of disciplined-based art education and highlights mistaken notions in the inquiry methods of curriculum specialists. Concludes that art educators should focus on how…

Argues that art teachers, particularly nonspecialists in primary schools, have an outdated understanding of art, that is, one that relies heavily on an elitist model composed of historical markers made by white men. The author illustrates how good education is also antiracist education and provides a list of resources that represent women and…

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)

Considers how multicultural art education should be approached in the classroom. Uses African art to help distinguish between appreciating art from different cultures and understanding cultural contexts. Discusses benefits and shortcomings of five multicultural approaches. Shows how the NAMES project (AIDS Memorial Quilt) could be used in the…