Discipline-based curriculum development efforts in art seek to translate Barkan's theoretical recommendations into practice. One such effort--the discipline-based art education framework of Greer--is discussed. (Author/RM)

The focus of discipline-based art instruction is on art within general education and within the context of aesthetic education. Four disciplines--aesthetics, studio art, art history, and art criticism--are taught by means of a formal, continuous, sequential, written curriculum across grade levels, in the same way as other subjects. (Author/RM)

Describes how the Ohio Department of Education developed its art curriculum, the Balanced Comprehensive Art Curriculum (BCAC). Going beyond the traditional studio art approach, the program requires students to respond and express themselves in three areas: personal development, artistic heritage, and art in society. (KM)

Reviews two curriculum frameworks--one developed by Elliot Eisner and Elizabeth Vallance and the second by Henry A. Giroux, Anthony N. Penna, and William F. Pinar--as a context for reconsidering conflicting notions about nature and purpose of art teaching. Discusses discipline-based art education (DBAE), suggesting that controversies over…

Proposes an art curriculum framework that reduces aesthetics to three theories of art: imitationalist, formalist, and emotionalist. Fits each theory into the curriculum at the appropriate developmental stage of the student. Applies these theories to art criticism, art history, and studio production. (LS)

Demonstrates how the art education curriculum is linked to general education. Provides a conceptual approach to an environmental design study curriculum that incorporates the Wisconsin state art curriculum guide's five generalizations with appropriate conceptual statements for primary, intermediate, middle, and high school grades, and the four…

For art to become a discipline of study in the schools, art programs should be structured in ways that benefit the majority of students, not just a talented few, and must contain substantive content sequenced across all grade levels in a written curriculum. The development of discipline-based art education started in 1965 with the Pennsylvania…

Profiles the Wilmette, Illinois, school district's experience when revising their art curriculum. Maintains that the art staff's commitment to revision is the motivating force, and suggests an outline for a revision plan. Outlines curriculum writing procedures, the contents of an art curriculum, and the advantages of curriculum writing. (KM)

This document records the Minnesota Department of Education's philosophy of art education. Chapter 1 outlines the educational and learner values, philosophy, mission, and goals of the State Board of Education. These ideas aim to provide a model for use by communities and school staff to improve the learning experiences they offer students. They…

The importance of art education in Missouri's schools is documented. This guide is based on the premise that studying art stimulates and fosters creativity, and cognitive skills as well as enhances cultural awareness and communication. Enrollment, time allotments, and credit requirements are outlined for art education at all levels. For each grade…

A Canadian art teacher informally observes art education curricula and assessment methods in England, Wales, Scotland, and Holland; and compares these with North American and Canadian practices. Discusses issues concerned with art history, national curricula, and multicultural education. Suggests that systematic assessment of students' work and…

Postulates a broad, interdisciplinary art education curriculum. The curriculum is built around nine increasingly cognitively challenging understandings expressed as instructional objectives. These objectives incorporate a series of questions examining art's functional, cultural, historic, and social contexts. Includes a discussion of the project's…