Arguing that the visual arts serve as the focus for potential aesthetic experience in the discipline of art education, this paper describes the influence of the sensory elements of aesthetic experience in nature and other art forms on the work of three artists--Kandinsky, Van Gogh, and Picasso--and suggests that teachers can enrich students'…

This essay addresses the ethical justification for arts education as a component of equal education. The paper traces evolution of equal education opportunity ideas in general and specifically as equal opportunity for arts education. While it is currently considered inequitable to provide an arts education to some and deny it or provide it in…

A school district and community endeavor brought a fine arts facility to Byron Center, Michigan. The Van Singel Fine Arts Center includes gallery space as well as a performing arts theater. Private donations purchased pianos and the acoustical shell. Academic results in the classroom include increases in average ACT scores for 5 consecutive years.…

This paper describes a model education program in art education. The goals of the program are to: (1) encourage higher levels of thinking; (2) increase knowledge of arts terminology, style, and concepts; and (3) develop the characteristics of creative thinking, in students from kindergarten through high school. The teaching focus requires the…

Reports on a three-day conference entitled "Creative Process in Education: Design for Quality Learning." Held at the University of Arizona in Tucson, the conference focused on integrating the arts into the elementary curriculum. Teaching ideas presented in workshop sessions are described. (Author/SJL)

In focusing excessively on nurturing the students' creative artistic potential, many teachers tend to neglect the students' potential for learning to appreciate and talk about the visual arts. Teachers should be prepared for teaching art appreciation with inservice workshops, summer and night courses, and further university training. (DS)

Maintains that artists seldom take an educated interest in any artistic discipline apart from their own. Suggests that students need to be allowed to confront each other with regard to the aesthetic quality of a work and suggests an interdisciplinary form like performance art could be a good starting point. (KM)

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines:…

This resource guide is designed to provide a starting place for planning and implementing programs in arts education. A short introductory section outlines the publication's purpose and describes sponsoring organizations. A section entitled "Program Planning for Arts Education" is divided into four subsections which provide a rationale…

As educators become increasingly subject to accountability pressures, maximizing the worth of evaluation is a prudent and realistic stance. This paper suggests useful and valid art program evaluation models: (1) Stufflebeam's (1971) CIPP (context, input, process, and product) model; (2) Stake's Countenance Model (responsive evaluation); (3)…

Presents interviews with active and prominent professionals in the arts. Attempts to show how practitioners view the role of the arts in education. (Author/IRT)

This article describes the philosophy, organization, and funding of the New Jersey State Teen Arts Program, a statewide model arts-in-education project which offers all New Jersey teenagers a chance to meet working artists and to actively participate in an interdisciplinary arts experience through annual state and county festivals. (SJL)

Defines art history by examining visual and contextual information and distinguishes between the fine and applied arts. Discusses scientific neutrality and the personal and social uses of art. Concludes that it is impossible for art historians to be truly objective, but this should not be problematic because art historians interpret art works for…

Questions the use of professional artists as appropriate role models for students learning about art making in the classroom. Examines a biography of one artist and reviews research on the psychological and social circumstances that facilitate art production. Suggests that the creation of those circumstances in the classroom would be complicated.…

Traces the origins and development of the National Standards for Arts Education. Discusses the long-term effects the national standards might have on preservice and inservice teacher education. Questions whether national standards might lead to a standardization in arts education that would hamper teacher and student creativity. (CFR)