The four content areas of discipline based art education (aesthetics, art criticism, art history, and art production) should be addressed in every art education unit planned and taught to students. All four content areas are addressed in the process of formal art criticism therefore every unit/lesson that utilizes a formal art criticism also…

Describes an secondary art education course using the principles of discipline-based art education (DBAE). Argues that art production techniques and studio art must be included with the DBAE approach for a successful program. Provides an overview of the course content and teaching methods used in the program. (CFR)

For art to become a discipline of study in the schools, art programs should be structured in ways that benefit the majority of students, not just a talented few, and must contain substantive content sequenced across all grade levels in a written curriculum. The development of discipline-based art education started in 1965 with the Pennsylvania…

Contends that, as rapid social change and new technology change society, aesthetic considerations become more important. Discusses issues related to using computers and other educational technology in art education programs. Concludes that the overall importance of art education will increase with the expansion of the information age. (CFR)

Contends that the role of the arts in human education and development is essential. Describes an elementary curriculum project that integrates economics and art education to study visual images of U.S. business. Includes three descriptive figures, a table of subthemes and visual art images, and a sample lesson plan. (CFR)

Asserts that art history and art criticism have not met the needs and aspirations of female students. Maintains that teaching embroidery can help teach about a history of female oppression. Describes how this approach is used in the classroom. (CFR)

Presents an art education model based on Elliot Eisner's three-domain model, emphasizing students' concept ownership and skill development. Criticizes late-modernism influenced practices, arguing creativity can be achieved only through tradition. Diagrams relationships between what art students learn in college and how they later teach. (KM)