A Dutch art educator considers some aspects of a Dutch art curriculum. (Author/RK)

A workyard full of junk is a creative inspiration for preschool children at an Israeli Kibbutz. (RK)

To give some idea of specific projects that have been implemented within the UNESCO arts education program in recent years, 12 sectors of the program are described. (Author/RK)

The International Society for Education Through Art has improved the general world climate for art in education, stimulated the establishment of national societies in many countries, and a few of its activities include the assembly and display of international exhibitions. Its development and organizational structure are described. (Author/RK)

Briefly describes what is meant by the English examination system, how it has come to take the forms that it does, and why such importance is attached to it. Thereafter, some problems and developments in examinations in art and design education are considered with six examination proposals summarizing the aims of art and design studies. (Author/RK)

Believes that art is a powerful agent for educational growth, of fundamental importance, and therefore that its rightful place is at the core of the curriculum. (Author/RK)

Describes early efforts in English educational history at initiating development in design education and presents some more recent discussion papers through a research team at the Royal College of Art on what a good definition of "design" is and what changes should take place in the curriculum to bring design education into the classroom. (RK)

Suggests through historical examination that memory, primarily linked with the imagination as a constructive and creative factor, is an important element in art training. (Author/RK)

A Martian sums up his feelings on the state of art education in England. (RK)

Art and artists cannot be separated from the natural environment and the environment of ideas and forms. The art instructor must put these environments together to help their students experience that sense of wholeness called integrity. (Author/RK)

Considers the modes of education that will enable people to choose themselves as open to works of art and the responsibility of art teachers to enhance qualitative awareness, to release imagination, to free people to see, shape, and transform. (Author/RK)

Our sensuous natures struggle constantly against the forces and pressures of daily living. This discussion considers the consequences of that struggle upon those who make or teach art. (Author/RK)

Art teachers and their students are aware of each other and the roles both play in classroom interaction. That interaction is discussed and a dialogue between students and their teacher presented as examples of what they feel and understand about each other. (RK)

Art does not live alone anymore and teachers should be prepared to take any concrete object in the environment, any curiosity of the child, any abstract idea, and lead the child to more than just self expressive drawing or the appreciation of a painting. Stresses the need for teachers to be able to seize opportunities for interdisciplinary…