For the last decade Michelle Kamhi has been prominent in her critique of contemporary art education. In her philosophy she positions herself as an essentialist who believes there are essential masterworks that define fine art, and the curriculum in art should teach fine art only. Her definition of fine art focuses on representation in painting and…

Argues that studying professional art critics can provide material for studying art criticism in the classroom. Focuses on the published work of Lawrence Alloway. Describes how his work covered a wide range of artists and movements and how he was politically proactive in promoting underrepresented populations of artists. (KM)

The collected papers from three conferences about art education are documented in three volumes. The first conference addressed art education, aesthetics, and art criticism. Eighteen scholars representing classroom teachers, museum educators, and university faculty were invited to prepare papers on the general topic of aesthetics and art criticism…

This report documents the proceedings from the second series of regional roundtable discussions sponsored by the Getty Center for Education in the Arts. These roundtables were established to provide a forum in which people could discuss aspects of Discipline-Based Art Education (DBAE). The topics of these roundtables were as follows: Roundtable I…

Addresses the issue of the fame of Leonardo da Vinci's "Mona Lisa." Describes several kitsch objects that have been created about the painting. Maintains that students need to address this issue otherwise such exploitation will depreciate the value of the art work. (KM)

A critique of the Arts, Americans, and Education Panel report, "Coming to Our Senses," for its study methods, its national policy recommendations, and its rhetorical styling. (SJL)

Presents a metacritical examination of published essays by three professional critics of Richard Avedon's photographic exhibition, "In the American West," to determine how critics describe art work. Concludes that more comparative research is needed to bridge the gap between professional art criticism and that taught in schools. (KM)

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)