In September 2008 the author created an encounter between herself and Rick Walker, the Director of Cartwheel Arts, a small community arts company in Rochdale, in the North West of England. As one of the three founding workers of what was then Cartwheel Community Arts in 1984, she hoped to create a conversation which recollected or traced some of…

When artists are inspired to travel in Europe to study art and history of the Western world, Italy is a good place to start. With its ancient architecture, rich cultural heritage, and superb works of art, Italy has been the quintessential center of Western art history for centuries. It was the good fortune of Alabama-based artist and teacher…

Discipline-based curriculum development efforts in art seek to translate Barkan's theoretical recommendations into practice. One such effort--the discipline-based art education framework of Greer--is discussed. (Author/RM)

The development of art is an aspect of our American heritage that deserves recognition as an important area of education. The importance of art heritage curriculum and the aesthetic education it offers students is outlined. (Author/RK)

Provides historical information on the growth of the folk- and outsider-art establishment within the twentieth century United States. Addresses the problems with defining this art form, contradictions between notions of schooling, and the negative impacts of success. Highlights art-world events and discourses that reflect the changing U.S.…

This introductory volume of the five-part series, "Disciplines in Art Education: Contexts of Understanding," provides a philosophical rationale for the idea of discipline-based art education. The idea models humanistic fundamentals by answering the basic human needs to communicate and share experiences with others (art making), find a place in…

Describes Jan Gossaert's painting of "St. Luke Painting the Virgin" and shows how it encompasses the intellectual pattern of early sixteenth-century thought. Discusses the arguments for and against the making of religious images and how artists overcame the potential threat to their livelihood from church authorities. Analyzes Gossaert's…

Provides six lesson outlines to help teachers motivate high school students to discuss basic questions about the meaning and function of art, aesthetic responses cultural context, and artistic skill. Illustrates artwork from the Museum of Modern Art by Marcel Duchamp, Pablo Picasso, Jackson Pollock, and Meret Oppenheim. (KM)

Since the eighteenth century, both artists and art historians have received educational benefits from public art museums. The main function of public museums, however, has usually been the improvement or refinement of public taste. But in addition to education and pleasure, another museum objective is that of moral improvement. (RM)

Explains how elementary students learned art criticism by acquiring a collection of miniature reproductions of artworks, which the students critiqued. Describes how the art specialist worked with the classroom teacher to direct writing activities. Comments on how the teacher managed to acquire the miniature reproduction of artwork. (KM)

Conveys how art history is taught to elementary school students through the Picture Presenter program. Trained volunteers present reproductions of important artworks and illustrate these to students by wearing clothes or using items similar to those in the painting. Describes learning activities and the fundraising that keeps the project…

Explains how a veil control method allows secondary students to use oil paints in the classroom without difficulties of control, manageability, and clean up. Outlines how to prepare and apply oil glazes. Maintains that this method enhances students' studio skills and helps them appreciate the works of the great masters. (KM)

This book is a compilation of year-long thematic curriculum units developed and taught by teachers participating in the third Indiana University Artistically Talented Program (ATP). Units for artistically gifted and talented students, grade 4-12, are developed along guidelines which require that they: focus on complex ideas; use themes as…

Describes two studies of art instruction offered to secondary school students which integrated art production with critical and historical learning and provided some comparisons with non-integrated approaches. Provides observations of high school art programs that included art history and criticism as part of the integrated art curriculum. (AEM)

Compares "School Arts" Teacher Viewpoint Surveys of 1990 and 1979 under the headings who responded, students served, what is taught, program enrichment, problems, the artist-teacher role, other professional participation, and curriculum concerns. Describes additional responses to current trends, including multicultural education and…