This article is co-written by a student and professor about their reflections of art education course they participated in. The authors use three font colors in this article to chronicle certain memories related to the course content from the perspective of student (orange) and professor (teal). They also use black text to exemplify the blurred…

Salazar is drawing from observational research and survey data in order to propose her Five Pedagogical Ideals. Salazar suggests that potent theories might be extracted from current practices, informing theories that are yet-to-be. In this article, Salazar has attempted to summarize a significant amount of theory and practice so that readers,…

Thinking about three- to six-year-olds rarely brings to mind an image of young children engaged in conversation in the formal setting of an art museum, yet these are actual comments made by preschoolers and kindergartners who spend time on the Mall in Washington, DC, visiting museums as part of their early childhood program. Today, an increasing…

Provides a four-category conceptualization of art which identifies the means of making art and the various elements of art. Discusses the aims of art and reasons for creating it. Examines the relationship that should exist between the ends and means of creating art and how it is taught and learned in schools. (JDH)

Describes art education as a political force when arousing to consciousness a fundamental shift in the personal awareness of the individual as the conjunctive arbitrator of his own existence. (Author)

Viktor Lowenfeld's role in fashioning a predominant ideology and teaching method for art education in schools is an indispensable chapter in the history of art education. His contributions are discussed in this special issue. (RM)

States that Eisner's explanation of discipline-based art education is ambivalent about goals and pedagogical practice. Contends that the art educator's task is to enrich the student's understanding of various themes dealt with by artists throughout time so that they can share in these ideas. (GEA)

The Getty Center for Education in the Arts' new advocacy for discipline-based art education is questioned. Much of the efforts of theorists in art education are trying to make art education more intellectually acceptable. Classroom art teachers, on the other hand, have concentrated on teaching the craft of doing. (Author/RM)

Author describes two instructive ways of illustrating the principal business of aesthetic education and summarizes the way in which the notion of a form of understanding is dealt with by Dearden. (Author/RK)

A theory of art education is suggested which is likened to the facets of Rubik's cube. The parts of this theory include understanding the value of art in education, giving visual form to ideas, responding to visual information, planning and teaching, and evaluating art learning. (IS)

The author challenges certain curricular conceptions, based on aesthetic discourse, professional occupational descriptions, and instrumentalist social applications which he believes have hindered the development and integration of art critical and historical education into the high school studio art program. (Author/SJL)

Examines John Dewey's theory of the qualitative mind, showing how his thought illuminates the process of artistic creation. Exemplifies Dewey's theory by referring to the documented creative processes of master artists, Picasso, Moore, Giacometti, and Cezanne. Identifies attributes of the qualitative thinker and artist, and presents educational…

In the current post-modern period, art is considered a cultural expression of the whole mind, and its best works set standards of achievement for the whole culture. How art educators must rethink and redesign art education curricula and learning experiences to reflect this post-modern period is discussed. (RM)

Theory and research are identified with science and are, therefore, rejected by many art teachers as destructive of creativity. The oriental notion of Shiva-Shakti is introduced: stillness and motion which fuse in a continuum. Likewise, theory and practice are interdependent and should be open to each other. (CS)

Reviewing some empirical studies on brain hemisphere functions, the author concludes that though the brain is lateralized for specific tasks, this fact has no necessary bearing on educational methodology. He asserts that we do not yet know enough to label and teach art as a "right brain" activity. (Author/SJL)