Contends that Discipline Based Art Education (DBAE) upholds and exemplifies a tradition that supports the male-dominated status quo in art education. Presents gender-biased quotes from various theorists and philosophers whose works form the foundation of DBAE. Concludes by showing how feminism may strengthen arguments for DBAE. (JDH)

Describes the components of SEEN, a computer program which provides an environment that prompts the user to create, support, and test an hypothesis, and its applications in an introductory world literature and an art history course. (MBR)

The sociological critique of meaning in art has implications for art education programs. What art educators teach about how to make and respond to art needs to be revised. A socially informed approach to representation is needed, and social values and meanings are necessary to an adequate art criticism. (RM)

Murals created by Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros embody a time of change in Mexico. The murals they created were intended to educate an illiterate population. Today these murals embody national pride. The goal of this curriculum project is rooted in learning about the history, culture, and art of Mexico. The project…

This book presents the ideas and premises that define the reformation called discipline-based art education, or DBAE. The volume identifies the contexts of art education that influenced this reformation and attempts to offer compelling reasons why art should function as a "basic" in the core discipline in education. The chapters in the…

This 5-part video lesson deals with discipline-based art education in the elementary school. The video features a university professor who is a specialist in methods and the integration of art into the elementary classroom; each part of the video lesson is 30 minutes in length. First defining discipline-based art education as an approach, not a…

Discusses the contents of typical art education learning packages. Those of the Central Midwestern Regional Laboratories (CEMREL) are designed to heighten student involvement through use of media. Other packages focus on art history, art appreciation, and arts and crafts activity. A package has also been developed for special education students.…

Many students leave high school with little knowledge of our artistic heritage. While this is partly because of low exposure to art classes, another reason can be found in the lack of training in art history among art teachers. Recommendations for increased training in art history are made. (IS)

Calls for dispelling the myth that no valuable art learning can be gained from structured elementary programs and suggests revising teacher education methods courses to train elementary teachers so they can help students develop significant awareness of art qualities, artistic processes, and art history. (JD)

This article describes the course, sequence and instructional materials of the Advanced Placement Art History course of the Cleveland Museum of Art. The benefits of a cooperative museum/high school course are also discussed. (SJL)

Describes a project about narrative in art that combines a study of art history with art reproductions. Explains that the students create before and after pictures on postcards for famous works of art. States that students were asked to choose an artist such as Norman Rockwell, Edward Gorey, or Jonathan Green. (CMK)

Discusses the genesis of the Rembrandt Teaching Project, a discipline-based arts curriculum focusing on art history, art production, art criticism, and aesthetics. Developed for a group of New York City middle school students, the goal of the curriculum focuses on critical thinking skills. (DAJ)

Seeks to clarify why drawing traditionally holds a central place in the art school program. Outlines what is meant by the Renaissance concept of drawing and how the role of drawing has changed over the centuries. (KM)

Describes how junior high school students in Arizona combine what they have learned in ceramic history class with ceramic production skills to create their own personal ceramic heads in their images. (KM)

Explores the difficulties of combining aesthetic experience and educational settings. Postulates this is due to the nature of aesthetic experience as well as the art object itself. Argues that art metaphorically discusses not what is, but what develops and implies a relativistic, adaptive, temporal concept of truth. (CH)