In general, children between the ages of four and eight criticize works of art based on their subject matter, color, pattern, or related combinations of these criteria. Between the ages of 8 and 11 children begin to notice their feelings, the artist's ability, and the expressive qualities of a picture. After the age of 11 children become…

This classroom resource kit contains a presentation for 12 slides representing artworks found in the permanent collection of the J. B. Speed Art Museum (Kentucky), a teacher's manual, and an evaluation sheet. The printed document provides critical insight into the artworks and their historical era by investigating the materials and technical…

Abstract expressionism was the first art movement of international importance to have its roots in the United States. This movement stressed the role of art as a method of individual expression. Abstract expressionist paintings are usually non-representational and some elements of their production have been left to chance. Individual artist's…

This ERIC digest explores aspects of post-modernism in art and art education. The adoption of post-modern attitudes by art educators must result in the generation of different, but no less difficult questions about the nature of formal education. Support for this argument comes from recent art education publications supplemented by relevant, but…

Discipline-based art education (DBAE) is a movement to incorporate aesthetics, studio production, art history, and art criticism into a curriculum of instruction in the arts. The 10 essays in this book focus on the role of philosophical aesthetics in the discipline of art education. Divided into two parts, part 1 of the book is an attempt to show…

Proceedings from a seminar devoted to a discussion of issues related to discipline-based art education (DBAE), this document features three scholars addressing a given topic from the perspective of their particular discipline and experience in the field. Six topics were explored: (1) "New Voices on the Integration of Art Disciplines";…

Contends Discipline Based Art Education (DBAE) has had major impact on art education field. Argues that the art curriculum in higher education is still bound by a studio emphasis, which does not prepare art education majors adequately for precollege art instruction. Concludes that both art and art education majors, as well as their instructors,…

Describes aesthetic views and shows how historical context and criticism are crucial for an understanding of aesthetic objects and experiences. Views education and art as providing a meaning for life. Suggests ways in which the author's theories and E. D. Hirsch's provide meaning for Sisyphus's life. (KM)

Reviews the evolution of Discipline Based Art Education (DBAE) since its inception in 1984. Asserts that DBAE has had a major impact on art education and now is influencing the performing arts as well. Recommends that DBAE principles should be applied to all of arts education not just the visual arts. (CFR)

Explores art instructors' and students' thoughts and feelings when students display their work for critical response, highlighting college art classes and offering notions of mentoring to help remedy detrimental aspects of crucial opportunities for teaching and learning. The paper concludes that ideas about mentoring can provide instructors…

The concept upon which this book is based is known by a variety of acronyms or terms such as Comprehensive Art Education (CAE), Discipline-Based Art Education (DBAE), or integrated curriculum. These similar educational approaches maintain art as central to the curriculum, a bridge that unites content areas in logical and meaningful ways. DBAE,…

Examines types and functions of useful definitions of art in education. Considers the strengths and limitations of functionalist and proceduralist definitions. Identifies art as a concept operating within a culture; therefore, recommends embracing a variety of definitions to be used in contextually significant ways. (MJP)

Reports on a study of 815 elementary and secondary students and adults on the types of evidence referred to in art historical interpretation. Finds that participants referred to four general types of evidence: (1) artist; (2) viewer; (3) culture; and (4) perception. (CFR)

Contends that teaching interpretation within art criticism is probably the most difficult aspect of teaching criticism. Provides suggestions and 17 principles to guide art teachers in engaging their students interpretive dialog about works of art and to provide criteria for assessing their interpretations. (CFR)

This curriculum guide, developed and used in Wheelersburg (Ohio) with visually talented students, shows how such students can be taught to utilize computers as an art medium and tool. An initial section covers program implementation including setup, class structure and scheduling, teaching strategies, and housecleaning and maintenance. Seventeen…