Argues that art history should have a more prominent place in primary and secondary education. Suggests promoting art history by (1) ensuring that teachers are knowledgeable in the discipline; (2) studying art history through other disciplines; and (3) exposing students to real artworks, local architecture, and the significance of popular culture.…

Discusses the future of art education in relation to changing demographics, technologies, values, and art forms. Reiterates two basic theories of art education: a separate subject with a defined place in the curriculum or a decentralized approach in which teacher involvement in the planning process has priority. (GG)

States that the critical work for art educators will continue to be curriculum development and implementation. Claims that an emergent issue for art education is a community-relevant, developmentally appropriate curriculum. Discusses issues facing curriculum developers and outlines criteria for the art education curriculum. (GG)

Examines the dichotomy between the affective and cognitive domains and the lack of support for art education in the school curriculum. Argues that, until school administrators view art as a mind building subject, it will retain marginal importance in the curriculum. Concludes that discipline-based art education will best meet the challenge. (GG)

Advocates that art should be taught by the certified art educator. Suggests art programs should be based on a substantive content foundation, sequence, and integrated with four components: art production, aesthetics, art criticism, and art history. Questions the worth of enrichment, exposure, or entertainment without substantive content…

Examines the style and content of evaluating student achievement in arts education. Considers student and teacher roles. Advocates formative rather than summative evaluation. Outlines Bennett Reimer's seven modes of interaction with the arts, seeking a vocabulary of arts assessment. Cautions against standardized testing in the arts. (KM)

Discussing the inadequate support that theater receives in elementary and secondary schools, the author explores the value of theatrical processes in teaching across the curriculum. Describes three levels of experience that are vital for learning, stating that teachers must do a better job of using theater as an educational tool. (GEA)

Explains how the study of art history encourages the development of critical thinking in adolescents by comparing Bloom's Taxonomy of Educational Objectives with Feldman's stages of art criticism. Offers curriculum-based recommendations for using art history and criticism to encourage critical thinking. (LS)

Presents a brief historical overview of the basic premises for fine arts education. Emphasizes that the fine arts should be taught as an end in themselves, with no utilitarian function attached to them. States that such aesthetic education is a necessity in the development of human beings. (GEA)

Examines the search for a common ground between arts advocates and art educators who are trying to establish an effective arts education program. Discusses sequential curriculum, the Getty Trust, and the integration approach, advocating a constant application of substance as the solution. (GEA)

Argues that arts education should be a basic subject in the school curriculum because perception which is a key characteristic of art education is basic to intelligence. Outlines three phases of research concerning spatial ability and theories of perception. Highlights higher education's role in the relationship between arts education and general…

Discusses the potential impact of the recent call for cultural literacy on arts education. Describes current design approaches in the arts education curriculum. Suggests a number of ideas that are deemed important for curriculum reform. Cautions that curricular changes, although much needed, must be thoughtfully considered before implementation.…

Proposes a model for a comprehensive arts curriculum. Discusses the significant phases of the curriculum and relates them to each other. These phases include identification of values, conceptualization, systematizing, interpretation, operation, and experience. Lists five objectives that serve as criteria for judging the worth of curricula. (KO)

Proposes that the nature and need of the learner dictate decisions about who teaches arts and what an arts education should be. Maintains that teaching partnerships be established within the arts education community to revitalize the arts curriculum and outlines a model for a school arts program. (TRS)

Addresses the reasons arts education has not become a fully accepted part of the school curriculum. States that one cause is the failure to develop a sequential arts curricula. Discusses potential curriculum content, scheduling, assessment, and grading. (LS)