Points out shortcomings of instructional methods derived from art criticism, viewed either as a set of procedures for critiquing artwork or as metacognitive principles for reflective thinking about artwork. Proposes a model of critical-inquiry instruction based upon three instructional activities: personal response, student research, and concept…

Presents a comparative review of art criticism strategies offered within the art education literature. Maintains that most strategies are characterized by three different structures: (1) sequential steps; (2) nonsequential groups of questions; and (3) lists of questions. Provides suggestions for further research. (CFR)

Asserts that elementary school art experiences are not always positive experiences. Discusses Eisner's model of art criticism which comprised six dimensions of critical judgments. Recommends a synthesis of subject-centered approaches based on four areas of activity: reacting; researching, responding, and reflecting. (CFR)

Contends that writing across the curriculum, including the visual arts, has become a major educational trend in the past decade. Argues that writing helps shape the processes of art criticism and appreciation. Includes suggestions for writing assignments and examples of student writing. (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)

This publication presents manuscripts and research reports by graduate students. Accompanying papers from their mentors establish a context for the student papers. In this double volume the works are organized by sponsoring university. Student papers presented are: (1) "Looking, Talking, and Experiencing Art with Preschoolers" (Shari…

Explores approaches to art-making, art criticism, and aesthetics as applied to conceptual art. Describes a one-day workshop with gifted secondary students to analyze socially critical art. Illustrates how artworks initially classified as provocative or prohibitive in the classroom can become more comprehensible to students. (CFR)

Presents a simulated dialog among an art teacher, a school principal, and a school board member on student evaluation. Discusses issues related to the evaluation of art products as opposed to evaluation of student learning in art history and art criticism. Outlines issues of evaluating student creativity. (CFR)