This article examines the purposes of art education. It contends that the spontaneity, novelty, and self-expression characteristic of the child-art period leaves most people with little or no understanding of art. Concludes that the new "art appreciation" approach must be examined to ensure that it meets its goals. (Author/BSR)

Reviews the history of art in terms of style, technique, and context. Considers (1) the preparation of teachers (2) the antipathy between practitioners and historians of art (3) the development of art history as an academic discipline and (4) the role of art history in the General Certificate Secondary Education. (BSR)

States that art history is only available to gifted students in the British educational system. Contends that mixed ability pupils have a right to their cultural heritage also. Advocates that art history and critical studies become a part of the core curriculum for all pupils. (BSR)

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…

Examines how women experience art education in England. Discusses how the assessment method, the studio tutorial, is experienced differently by male and female students. Suggests that teachers should improve their listening skills. Recommends a course in counseling training skills to help improve professors communication skills. (KM)

Reports findings of a 1986 survey on multicultural approaches in art and design curricula in the United Kingdom. Identifies seven ways teachers were encouraged to introduce multicultural issues into the classroom. Examines origins and value orientations to multicultural reform. Favors multicultural curriculum reform from an internationalist,…

Describes how the Educational Sector of the Sao Paulo Biennial assists art teachers in introducing contemporary art into the schools. Outlines how students were observed viewing the exhibition and creating artworks. Describes how training programs and materials were provided to help the schools. (KM)

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)

Describes an secondary art education course using the principles of discipline-based art education (DBAE). Argues that art production techniques and studio art must be included with the DBAE approach for a successful program. Provides an overview of the course content and teaching methods used in the program. (CFR)

Identifies four possible conceptions of good teaching in general that can be transferred to art education. Discusses competencies expected in new art teachers, current inadequacies in art teacher preparation, and inadequacies in subject knowledge. Includes a table containing 34 competencies expected of prospective art teachers. (CFR)

Analyzes drawings by children from a Dutch East Indies exhibition in 1937 organized by educator Johan Toot. Divides the drawings thematically and discusses how the drawings are influenced by various cultures. Describes how Johan Toot worked to replace rote learning with an activity-based education. (KM)

Reviews significant aspects of the debate about art and design education in secondary schools in England and Wales. Asserts that the British National Curriculum forces art and design education into a marginal role. Contends that the National Curriculum's Order for Technology is of crucial concern for every art and design teacher. (CFR)

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)

Argues that evaluation and assessment are essential to both the practical and conceptual aspects of art education. Outlines criteria and guidelines for developing different evaluation methods. Proposes a process model for evaluating students' work. Maintains that all students will enhance their learning if they negotiate the criteria and purposes…