The effects of the arrangements and use of physical space in the art classroom is discussed. Settings can be purposefully designed to suggest certain meanings as well as exert control over the amount and kind of communication that will occur within them. (Author/RM)

Techniques that can be used in environmental design education for description, interpretation, and evaluation of various school settings are described. How art students can use these techniques to evaluate the building design of schools and other settings they use is specifically discussed. (RM)

Described is an index method that will help art teachers design, maintain, and control art classroom settings. The following topics are also discussed: the historical background for environments, the emerging role of the classroom environment, humane qualities in the classroom, and flexible qualities in the classroom. (RM)

Describes spatial, pedagogical, and psychological dimensions of the pottery studio as an art learning environment. Contends that the art learning environment, at its deeper levels, is determined by the philosophic meanings and underlying attitudes of student and instructor as conveyed in their speech and writing. (RM)

Described is a project that involved a junior high school art class in studying architecture and city planning and in making images of a city with paper cutouts on a bulletin board. (RM)

By studying the painting "Pittsburgh Memories" by the Black artist Romare Bearden, student in grades K-3 learn that artists use their visual memories of real places and people when they make art. The students also learn how various types of space are depicted in a semi-abstract style. (RM)

This art activity introduces students in grades four-six to the popular 18th-century capriccio painting of Canaletto, one of the greatest painters of views of Venice, Italy. (RM)

By participating in this art activity, students in grades seven-nine learn about one of the first American modernists, Stuart Davis, and come to understand how simplification and abstraction developed in American art. (RM)

Students in grades 10-12 are introduced to a romantic-realist approach to landscape painting using masterpiece by Robert S. Duncanson. The activity helps students consider the decisions artists make in choosing how they will interpret nature. (RM)

Discussed are (1) the goals and practices of the Folk Artist in Education (FAIE) program, (2) the FAIE in relationship to the Artist in Education program criticisms, (3) improving FAIE programs, and (4) reasons for its support. (RM)

Nothing will kill the value of historical research more readily than a trendy, purposelessness, and careless methodology. Suggestions offered aim to give pause to future historical researchers so that they may reflect about what aspects of art they choose to study. (RM)

Art teachers should view themselves as part of the total organizational structure of schools with art curricula written in the same form and with the same degree of specificity as that of other disciplines. Art teachers must invite scrutiny and use accountability to develop support for their programs. (RM)

Relationships between major art movements and art education in the schools are examined. The so-called discipline-based art education movement brings with it ideas similar to those found in the new art world. (Author/RM)

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)

Adolescents react very positively to computer graphics programs. The biggest obstacle to initiation of computer art in schools is teacher attitudes. Things to consider when starting a computer graphics program are discussed, and some illustrations of student computer art are provided. (RM)