Compares the use of a laser videodisc system in the art classroom to the use of a standard slide projection system. Describes the three levels of interactivity that are possible and discusses methods of use, product availability, and equipment cost. (GEA)

Articulates a six-category typology of the roles of art teachers. Categories range from pure teacher roles to pure artist roles. Maintains that the combined role of teacher/artist is best and must be encouraged to function as change agents in our schools. (JDH)

Describes the Rockefeller Brothers Fund Awards in Arts Education program designed to provide incentives for public schools to develop superior art courses. The success of the program demonstrates that rigorous training in art can significantly increase student learning and productivity. (AM)

Reflective dialog between student and teacher when children are producing art can help children grasp relationships between actions and consequences. Eight types of questions that can be asked by the teacher are discussed. (IS)

Discusses how art teachers can broaden their students' art experiences by showing them how they became personally inspired and how they followed up on their inspirations. States that art instruction must go beyond art appreciation so that students will seek out experiences which become the sources for plans and projects. (GEA)

This article describes the importance of examining the internal, original, and external context of a photograph. The article concludes by showing how students can be helped to understand internal context. (JDH)

Rather than just being a study of past art works, art history can also be a study of process in which students learn about describing, attributing, reconstructing, and interpreting art. Sheet music is suggested as a possible resource to develop these skills. (IS)

States that students must value the art and ideas which they study in class in order to become sensitive to them and to develop the insights and skills necessary to extract meaning from visual images. Provides several examples of themes and concepts in works of art that could serve as focal points for discussion. (GEA)

Discusses the founding and growth of the Getty Center for Education in the Arts and its adoption of discipline-based art education (DBAE). Examines the need for teacher training and the development of curriculum and model programs for the implementation of DBAE as the approach becomes accepted nationwide as the new standard for art education. (GEA)

Confronts the criticisms of discipline-based art education (DBAE), particularly those claims that DBAE is too narrow and undemocratic in its choice of subject matter and its interest in students. Argues that when properly implemented, DBAE is not only more democratic than other approaches, but it also goes farther in developing students'…

Considers what discipline-based art education (DBAE) teaches through its implicit characteristics and basic assumptions. Argues that DBAE should not be evaluated in terms of any one curricular model because there are many possibilities for its presentation. States that DBAE does not need to present standardized content or limit study to artistic…

Notes that during times of stress and perceived imbalance there is a tendency to "get hold of things" and return to a state of stability and lower levels of ambiguity. Reviews the thinking behind the discipline-based art education movement and identifies alternative perspectives. (JDH)

The questions that teachers ask students are often not the best types of questions for initiating an art dialog. Classroom discussions require an open atmosphere and properly constructed questions. Examples of effective and ineffective types of questions and appropriate and inappropriate teacher responses are provided. (IS)

Discusses the problems encountered by adults who are beginning artists. States that a teacher's failure to recognize these problems can adversely affect creative behavior and enjoyment of art. Describes the Hoffman Scale of Visual Interpretation and considers its use in the positive reinforcement of these beginning artists. (GEA)

Maintains that introductory art courses should promote three types of outcomes: (1) learning from works of art, or art criticism; (2) learning about works of art, or art history; and (3) learning how to make art, or studio art. Describes an approach to teaching introductory art lessons that helps achieve these three outcomes. (JDH)