Considers John Ruskin's practical teaching of art at the Working Men's College in London and examines his objections to the government-sponsored approaches to art instruction. States that his aims and teaching deserve reappraisal for they may have a particular relevance in the changing relationship between education and society today. (GEA)

Discusses formalism, the aesthetic theory which recommends that the value of art be sought in the lines, shapes, and colors of the work and their interrelationships. Examines the exchange of theories and practices between British artists such as Roger Fry and John Ruskin, and U.S. scholars such as Denman Ross. (GEA)

Discusses value of having Scottish students critique art collections throughout their country. Elaborates that this type of art appreciation consists of five major components: (1) critical activity, (2) history of art, (3) connoisseurship, (4) aesthetic experiences, and (5) production of art and design. (BSR)

Discusses the development of nationally organized art and design education in 19th century England, focusing specifically on the Birmingham School of Design Art. Describes the school's increased autonomy despite centralized planning in London, stating that it challenged central control only after gaining financial independence. (GEA)

Discusses the movement in British education to separate design education from art education. States that this should not be done. Argues that fine arts classes should continue to be taught at the higher education level. (RKM)

Discusses the project Learning to See which is concerned with the aesthetic and design aspects of environmental study. Focuses on research work in the schools that is based on environmental experience. Presents a five-point plan for art and design relative to environmental study. (KO)

Discusses some problems found in art education in Great Britain today. Notes statistics which indicate new interest and new growth in art education. Reviews several reports on the current condition of art education in Great Britain and makes several suggestions for improvement. (RKM)

States that amidst optimism and controversy, discipline-based art education (DBAE) has entered the U.S. art education scene. Attempts to put DBAE in perspective, to identify its roots, and to alleviate the concerns of some about its message. (Author/BSR)

Discusses how quality art education can be fostered in primary schools. Suggests that curricula emphasizing disconnected activities and entertainment should be avoided. Maintains that nonart specialists have difficulty understanding art specialists but that this could be alleviated by using terms familiar to both, such as skills, knowledge, and…

Describes Arts Propel, an undertaking that falls under the auspices of Project Zero which has been designed to investigate practical efforts in educational settings. Discusses findings emerging from the studies generated by Arts Propel. Lists some general trends that are well received by those involved in Project Zero. (KO)

Asserts that the term "basic design" has become well known as a type of design education practiced at England's King's College and Leeds College of Art in the 1950s and early 1960s. Describes the work of James Bradley, who brought the basic design approach to Sidcot School, a secondary school in Avon. (CFR)

Examines five different examples of scribble art with the purpose of entering the experience of the scribbler through empathetic understanding. The participants include a schizophrenic adult; a blind, deaf, and autistic 10-year old; a known artist; a precocious 3-year old; and an elephant. Paper discovers commonalties in their efforts. (MJP)

Reviews art education in the United Kingdom and the United States over the past 20 years and discusses future agendas. Identifies positive developments in the field and identifies short-comings. Calls for an overhaul of the structure of the school and stresses the need for the modeling of excellent teaching. (KO)

Compares the arts and design context and attributes of the National Curriculum in England and the National Guidelines in Scotland. Concludes that art and design educators in both England and Scotland must work to remove bureaucratic constraints that prevent practitioners from controlling their own discipline. (CFR)

Asserts that efforts at establishing cross-curricular programs with art and other subjects are well established. Questions whether the goals and content of visual art instruction are trivialized or lost in such programs. Provides three criteria that can be used to test the integrity of interdisciplinary programs. (CFR)