This article presents an analysis of the way art is conceptualised in the British primary school curriculum and provides an historical framework that maps an evolution of ideas that have shaped the way art is presented in the modern day primary curriculum. In order to achieve this a Foucauldian style genealogical analysis is utilised to trace the…

Reviews the history of art in terms of style, technique, and context. Considers (1) the preparation of teachers (2) the antipathy between practitioners and historians of art (3) the development of art history as an academic discipline and (4) the role of art history in the General Certificate Secondary Education. (BSR)

Discusses art history from the standpoint of the circumstances surrounding the artists themselves. (GB)

How would you like to put some "Pow!" into your art instruction? A lesson in comic books--history, design, story, and production--can make your classes come alive. The authors present a new approach to using comics to build artistic skills and involve students in art appreciation. Why Comics? Many art teachers have students who say, "I hate art!"…

A fact-oriented handbook examines the overall picture of the educational and training opportunities for artists in the Federal Republic of Germany. Because of space limitations, this document presents a few typical examples of arts curricula rather than the total curriculum for the different types of schools in the 11 federal states. Subjects…

Shows how high school students used foam carpet padding to create forms for still-life drawing. Discusses learning to progress from simple-line drawing to a three-dimensional image. Identifies the drawing of shadows, and extreme light and dark values, as points that need to be emphasized repeatedly. (KM)

Describes a game designed to motivate students to conduct art historical research. Required students to find artists who created art in four different ways, realistically, intellectually, emotionally, and spiritually. Students chose ways to take collected data and work cooperatively to create a mural. (KM)

Describes and illustrates "Christina's World" by Andrew Wyeth. Provides background information on Wyeth's life and compares "Christina's World" to Wyeth's "Siri." Suggests activities to help all levels of art students understand use of color, mood, and composition. Introduces related activities designed specifically…

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)

Describes the creation of a traveling art museum to expose elementary and middle school children to contemporary art. Maintains that this is a sound way to build school and community support for art education in general. (KM)

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)

Explains how the author encouraged students to think about censorship and the arts when conducting a field trip to Robert Mapplethorpe's "The Perfect Moment" exhibition at the Wadsworth Atheneum (Connecticut). Suggests preparing the students beforehand and keeping parents informed. Recommends booking a public room at a museum where…

Investigates the role of women in U.S. art education by focusing on the art education contributions of Eugenia Eckford Rhoads. Presents a biographical sketch and describes her published works. Questions the role of sexism in how art educators judge the success or failure of a professional career. (KM)

Uses the artwork of Color Field painter, Helen Frankenthaler, to discuss abstract painting, how mood can be conveyed through color, different methods of applying color, and how different color combinations change the appearance of colors. Suggests art-related activities for elementary and secondary levels. (KM)

Asserts that neither of the two most popular models of art criticism lends itself to a postmodern understanding of the political role of visual art in the late 20th century. Concludes that the historical context model is rooted in historical understanding and that teachers must prepare for this type of instruction. (CFR)