This document provides a sampling of financial resources for fine arts programs in the schools and lists methods for submitting proposals and dealing with sponsors of funds. Financial sources for arts programs include school districts, organizations and institutions, special events, direct mail, individuals, associations and clubs, businesses and…

THIS SEMINAR WAS A DEVELOPMENTAL ACTIVITY INTENDED TO STIMULATE RESEARCH AND CURRICULUM DEVELOPMENT IN THE FIELD OF ART EDUCATION. PRIOR TO THIS SEMINAR NO SUBSTANTIAL EFFORTS HAD BEEN MADE TO COORDINATE THE VARIOUS ISOLATED EFFORTS AT RESEARCH AND CURRICULUM DEVELOPMENT THROUGHOUT THE NATION. THERE HAD BEEN FEW ATTEMPTS TO IDENTIFY THE MAJOR…

This document is an English-language abstract (approximately 1,500 words) describing the problems and concerns that the advisory committee had over the training of artists in Australia. The general failure of secondary schools to produce students ready for art schools is noted and remedies are suggested. The formation of an Australian Association…

An artist outlines her system (called the Monart Drawing Method) for teaching children to draw realistically. Children are taught an alphabet of five elements of shape and allowed to interpret and utilize the information any way they wish. The system allows children's natural creative abilities to flourish. (MD)

In 1985 the Rockefeller Foundation encouraged the development of a collaborative program between three institutions that look at how teachers teach art and evaluate what their students learn. (MD)

Maintains that introductory art courses should promote three types of outcomes: (1) learning from works of art, or art criticism; (2) learning about works of art, or art history; and (3) learning how to make art, or studio art. Describes an approach to teaching introductory art lessons that helps achieve these three outcomes. (JDH)

Discusses problems in evaluating artistic ability, changing views on the appropriate content and methods for art education, and new research that reveals relationships between artistic and other intellectual abilities; briefly notes several studies on art programs for the gifted and talented. (MCG)

A consultant tells about her experiences in helping a small college to develop and install a computer graphics program. Educators must take care when planning because, although some aspects of computer graphics may be attractive and seductive, they may not be practical for a particular situation. (RM)

There are 10 approaches that teachers can use to sort out and present works of art to students, e.g., stylistic, topical, specific artist. Teachers should use all the approaches when developing a curriculum. An example of how a study of impressionism by secondary students might include these approaches is provided. (RM)

The College Board's report "Academic Preparation for College" (APC) claims that study and performance in the arts are essential for success in college. Discussed are the APC report and its development, the APC arts statement and its evolution, and problems and prospects for implementation of the arts competencies. (RM)

The process of curriculum development in art education at the provincial level in Alberta, Canada, is described. The interests, needs, and assumptions of five groups of stakeholders--government, the curriculum development committee, art teachers, students, and interested onlookers--are examined. (RM)

When Charles S. Johnson was president of Fisk University, he used the university's art collection as a tool for the advancement of the university and as a major part of an environment that nurtured intellectuals and leaders in the African American community. This historical study used interviews and secondary sources to focus on the value of art…

Considered the part of art education in the intellectual formation of children. (RK)

Project IMPACT, a federal funded concept, is described as having accomplished its rather ambitious goal-the establishment of model school programs that are arts-centered. (Author/RK)