Discusses the philosophical underpinnings and inherent values, actions, and outcomes of accepting and implementing stewardship as a focus for education in art and ecology. Defines three elements of ecological stewardship: moral commitment, understanding the effect of actions, and demonstrating respect. Describes a series of interdisciplinary…

Asks how art should be taught in a culture in which television and electronic media constitute the primary media with which young people interact. Suggests that art educators should focus on how students use technology, the production and viewing of technological images, and the ways that such images have meaning. (DSK)

Relates the story of the creation of an exploratory art technology class at Hadley Junior High School (Illinois) and its development over the past decade. Describes the equipment required to conduct the course, resources available for teachers creating similar courses, and student projects. Suggests ways to make the course multidisciplinary. (DSK)

Discusses the nature of light and its relationship to color, particularly two models of color production: the additive and subtractive models. Explains the importance of these models for understanding how computers and printers generate colors. Argues that it is important to understand these processes given the prevalence of computers in art. (DSK)

Recounts the experiences of 40 art educators who participated in a summer colloquium with artist Sandy Skogland that produced an elaborate installation art exhibit. Utilizes the installation activity to explore classroom studio instruction and meaning-making from both the artist's and art educator's perspectives. Makes suggestions for improving…

Presents a collection of questions that fifth-grade students asked about African artwork and answers provided by staff from the Museum of Fine Arts in Houston, Texas. Observes that students' interest in important visual aspects of the art creates lead-ins to more detailed discussions of West African art and culture. (DSK)

Defines two terms, censorship and "disturbation," and relates them to the responsibility of art educators to allow artistic free expression, but within certain realms of social responsibility. Argues that art educators should attempt to develop a provocative young artist's "disturbation" into mature and conscious forms. (DSK)

Observes that the need for art education to include discussions of popular visual culture that influences student knowledge grows more pressing as mass communication increasingly becomes a major source of information about art. Discusses representations of culture in art in advertising and art in film. Specifically looks at art in the film…

Reprints the 1954 article as a representative example of thinking about art education during the 1950s. Defines the world as an uncertain and challenging place well served by the evaluative and creative-thinking characteristic of art education. Argues for a closer synthesis of studio art and art history courses. (MJP)

Reprints the 1966 article as a representative example of thinking about art education during the 1960s. Primarily answers criticisms raised by Victor D'Amico in his attack on the current state of art education, and art education research in particular. Defends this research against charges of irrelevancy and academic indulgence. (MJP)

Reprint of the 1966 article as a representative example of thinking about art education during the 1960s. Reiterates the need for aesthetic judgement in art education and discusses those characteristics and approaches that render a judgement valid. Maintains that justification or an aesthetic opinion should be descriptive rather than explanatory.…

Reprints the 1978 article as a representative example of thinking about art education during the 1970s. Provides a thorough overview of the state of art education at that time. Considers educational policies, national programs, conflicting philosophies, and cultural factors. Concludes with 10 recommendations for improving art education. (MJP)

Presents a lesson plan constructed around several color plates of the artwork of George Szekely. Szekely suggests a playful and open approach to his work and recommends various ways of interpreting and experiencing his art using a variety of senses. His recommendations include slide projectors, word games, and role playing. (MJP)

Outlines six instructional approaches to aesthetics and discusses the instructional applications of these approaches. Assesses their feasibility for classroom practice and places them in relation to established educational rationales. Considers multicultural aesthetics, humanist applications, populist applications, studio instruction applications,…

Describes a ninth-grade class project where students were asked to recall a specific sense memory involving smell and foods. They wrote a brief narrative reflecting on the experience and created a recipe card for the food. These were combined with a pictorial representation of the food for a final project. (MJP)