Access to arts education in the United States continues to be inequitably distributed as a function of socioeconomic status and race. In response, arts practitioners and policymakers have worked to expand access to arts education among children from lower-income households and racially or ethnically minoritized (REM) backgrounds. In so doing, they…

We are in a period of unknowns unlike any in a generation or more. As educators, we need new pathways and ideas that can help us educate children for the world to come. "Reimagining the Classroom: Creating New Learning Spaces and Connecting with the World" provides practical steps and examples that parents and educators can use to begin…

This article reviews the changing goals of art education, describes the present status of objectives in the field, and projects some possibilities for the future. (RC)

Examines the impact of sequential learning on art education. Contends that it has reshaped and redefined art educators' perceptions of what is art learning. Concludes that, although sequential learning still seems to be a feasible and desirable teaching and learning approach, the paths and directions of the approach may be changing. (CFR)

Discusses the founding, development, and issues surrounding the Barnes Foundation and its art collection, specifically designed for art education. Also discusses myths about Albert C. Barnes, the Barnes Foundation, and its relationship to the ideas of John Dewey. (CFR)

Asserts that aesthetic questions and aesthetic understanding provide the framework for learning in art. Contrasts formalism (the belief that art exists for its own sake) with contextualism (the belief that art is part of a social communication system). Maintains that a balanced art program should incorporate both approaches. (MJP)

Examines the development and evolution of discipline-based art education (DBAE) from its inception in the early 1980s to its current practice. Maintains that the movement's success comes from the support and acceptance of educators in the field. Discusses the recent integration of DBAE and multicultural education. (MJP)

Observes that the focus and special quality of art education can sometimes be diluted in an interdisciplinary setting. Provides several examples and suggests creative and cooperative responses. Includes guidelines for maintaining quality art instruction in an interdisciplinary context. (MJP)

The promises and limitation of computers and art education are examined, and why teachers are often afraid of computers is discussed. (RM)

The history of the Western Arts Association, organized in 1893, is presented. The Association's original constitution is included. (RM)

Arts and crafts education opens up the creative ambitions of hearing-impaired children, cultivates their ability to express themselves, strengthens their organizational ability, helps them develop visual and tactile sensitivity, and increases their interest in learning. Self-respect and self-confidence are the result. (RM)

Touches upon an area where photography plays an integral role, its relationship to fine art. Demonstrates how photography can be creative, how the camera can be used to capture and record subject matter for the visual artist, and how photography can be used as a teaching tool. (Author/RK)

A list of successful art activities that teachers had used with special education children were presented. Additionally, discussion groups reported on defining the terms associated with art therapy and the goals of art education. Recommendations for continued program meetings on the finer issues of special education were included. (RK)

If art reflects, transmits, and extends human culture, studio art should be taught in a socially conscious manner. A theoretical foundation and practical suggestions for implementing a socially-defined studio curriculum in art are presented. (RM)

Differences between art education in schools and learning in art museums are discussed. If children are to see museums as something other than a continuation of classroom exercises, then fun, purposeful play, challenging new experiences, being with friends, self-directed exploration, and spontaneity must be major parts of museum learning.…