Asks how the "Art in America" radio programs illustrate the way educational mass media emerged from its forerunners of adult education, museums, libraries, and distance education. Discusses the precursors to the program, its production, the programs as education and as entertainment, and how listeners learned from radio. (DSK)

The author outlines four main orientations in the history of aesthetics and relates each to a specific theoretical orientation in psychology. He suggests that these four alignments can serve as categories for distinctive teaching traditions presented in the literature of art education. (SJL)

Throughout European history, artists have celebrated the values of their patrons. Today, the schools are the largest employer of artists. To justify art education according to current Back-to-Basics values, art teachers should explain visual art as a language, which they can teach students to read and use. (SJL)

Prior to 1947 when the NAEA was founded, there were two other attempts to form a national art education association. This brief history deals with those two attempts, the Federated Council on Art Education (1925-1936) and its offspring, the National Association for Art Education (1935-1938). (Author)

Contradictions in the literature abound concerning Franz Cizek's role in fostering creative art. Researchers should turn to student recollections to determine what Franz Cizek's contribution to art education really was. A former Cizek student who today is prominent in design work is interviewed. (RM)

Hermann Krusi, born in 1817 in Switzerland, was the first drawing and art teacher at what is today Oswego State College. His most outstanding achievement was the development of a program of "Inventive Drawing," adopted by thousands of schools throughout the nation. Krusi's life and contributions are discussed. (RM)

The compelling career of the late Margaret Trowell and her efforts to infuse local cultures into the study of art in East Africa are discussed. Her chief concern was to make it plain that art is of the people and natural to the people. (RM)

The Depression of 1929 heralded a difficult time for the teaching of art. Changes during this era included more utilization of technology, a shift from elitism to art for all children, integration of art into the social studies curriculum, and emphasis upon self-expression, rather than art appreciation. (CS)

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)

The history of the Western Arts Association, organized in 1893, is presented. The Association's original constitution is included. (RM)

Examines women's position in the art world as it was reflected in the Victoria School of Art and Design (Halifax, Nova Scotia) during the late nineteenth and early twentieth centuries. Concludes that women played a decisive role in shaping the art school, overcoming gender bias to become serious art students, instructors, and school managers. (GEA)

Examines Viktor Lowenfeld's activities as an instructor at the Hampton Institute, Virginia (1939-1946), an essentially Black school in a pre-civil rights movement southern setting. Discusses his theoretical statements and his behaviors in relation to teaching art to Black adults. (GEA)

Finger painting is often regarded as the epitome of free expression for children. However, a careful review of the history of Ruth Shaw's finger-painting system reveals that it was dominated by specific techniques and stylistic conventions taught without a critical understanding of art history or appreciation. (IS)

Lowenfeld enjoined teachers never to permit children to copy art works because children's art was such a crucial part of the self. Yet by rejecting all copying, one can place too great a value on novelty and miss the essence of Lowenfeld's emphasis on the individual child's experience. (IS)

Foundations of art education include using art to improve the hand-eye coordination of factory workers, document children's developmental stages, and gain historic insights or cultural benefits. In addition, the artist-teacher concept of art education reinforced the atelier, guild, and master-apprentice relationship. Recent influences in art…