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)

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.…

Compares Oskar Kokoschka's teaching practices with American Progressive Education literature. Observes that the latter stresses the need for practicing artists to teach in the schools. Evaluates the strengths and weaknesses of the artist-in-the-classroom concept revealed in light of Kokoschka's practices. (KM)

Discusses formalist/universalist, personal response/ antiformalist, and pluralist approaches to aesthetics. Recommends using a pluralist approach because it accounts for the aesthetic principles of non-Western art forms. Discusses pluralism in art education and how the criteria of Western aesthetics are now being challenged by art educators. (KM)

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…

This paper examines art instruction in elementary and secondary schools, focusing mainly on the major shift in theory and practice which began in the early 1960s. Offers a broad view of art and emphasizes the importance of discipline-based art education in the K-12 curriculum. (JDH)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

In post-medieval times, art became sacrosanct rather than special as it had been regarded in previous cultures. This notion still drives art education and prevents the inclusion of entire cultures in contemporary curricula in art education. The myths that any society lives with, whether religious, political, or economic, are embedded in that…

Reviews the evolution of courses and degree programs designed to produce art education specialists. Devotes particular attention to the emergence of discipline-based art education (DBAE) ideas. Concludes that DBAE has clarified the question of what to teach; that the challenge now is to bridge the gap between DBAE theory and current teaching…

Reviews two curriculum frameworks--one developed by Elliot Eisner and Elizabeth Vallance and the second by Henry A. Giroux, Anthony N. Penna, and William F. Pinar--as a context for reconsidering conflicting notions about nature and purpose of art teaching. Discusses discipline-based art education (DBAE), suggesting that controversies over…

If visual art is to be taught as a substantive part of the public school curriculum, then it's content and structure need to be translated into a curriculum that provides continuous cognitive and psychological growth and development. While discipline based art education (DBAE) acknowledges the values of art production, the content of art should…

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…

Explains how proper preparation, including giving students specific tasks to accomplish, helps focus a museum or sculpture garden visit. Outlines two basic ways that a teacher might organize a tour: (1) by showing a progression from figurative to abstract sculpture, and (2) by discussing design concepts. Includes pictures of four sculptures,…

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)