Aiming for experiences that are both culturally responsible and personally meaningful, the author offers guidelines to help museum educators and art teachers negotiate contextual information within group investigations of works of art. In people's encounters with art, dialogue exists on several levels. There is dialogue between a viewer and a…

Refutes commonly held assumptions forced on the art-education public that characterize Viktor Lowenfeld, a historically well-known art educator, as having a laissez-faire approach to art education and a visual-haptic fixation. Asserts Lowenfeld's beliefs were distorted in later publications of his book, "Creative and Mental Growth." (CMK)

Contends that art educators should work toward an educational practice that works to change discriminatory practices, encourages students to reflect about how and why art is produced in all cultures, and recognizes human commonalities in art. States that an art program grounded in feminist views will focus on diverse artistic traditions. (CMK)

Examines three assumptions evident in the practice of art criticism models: (1) the connection of first impressions with the viewer's past experience; (2) the connection between sequential procedures and learning; and (3) the use of judgment as a necessary step in understanding. Describes a new criticism model that stresses understanding and…

Presents three works of art that examine issues of exhibition, display, culture, and access in contemporary museum practices. The works include four black mannequins dressed as security guards, a room-size installation consisting solely of objects related to the artist, and a poster highlighting the general exclusion of women artists. (MJP)