Considers the impact of testing on art education if it is conducted as a means to legitimate art studies. Concludes that some new art programs may be buying into a system that has produced an educational structure which alienates young people. Concludes that testing will contribute to lower levels of cognition. (GEA)

Presents a study which examined nonspoken information that provides museums visitors with cues for perceiving, thinking about, and appreciating works of art through displays and labeled exhibitions. Discusses reasons museums operate as they do and considers what might be done to enhance visitors' satisfaction. Calls on museum educators to improve…

Argues that museums, as public educational institutions, must meet the challenge of educating the public, specifically by planning for education that focuses on the pressing issues and problems of people's lives. States that museums must educate for public responsibility, and discusses the ethical and educational imperatives that guide public…

Presents a lesson plan introducing K-3 grade students to visual elements in art and the idea that artists use dreams and fantasies as subjects for their art using Max Ernst's "Tree of Life." Outlines instructional strategies and lesson objectives. (GEA)

Uses Durand's "An Old Man's Reminiscences" to introduce students in grades 4-6 to the effective use of nostalgia and memories in artwork. Presents lesson objectives, instructional strategies, evaluation criteria, and background information about the artist and the painting. (GEA)

Uses Marsden Hartley's "Indian Fantasy" to explore with students in grades 7-9 the variety of expressive qualities of an early twentieth-century U.S. artist working abroad. Presents lesson objectives, instructional strategies, evaluation criteria, and background information about the artist and painting. (GEA)

Uses Goya's "The Sleep of Reason Produces Monsters" to acquaint students in grades 10-12 with the artist's highly personal imagery and innovative printmaking techniques. Includes lesson objectives, instructional strategies, follow-up procedures, and background information about the artist and the painting. (GEA)

Examines reasons that the prices of artwork often overshadow the objects themselves, causing audiences to lose sight of art's aesthetic value. Discusses the difficulty facing art educators when they attempt to balance consumerism and aesthetics with judging or teaching about works of art. (GEA)

Discusses the Australian "Share the Joy" project which promotes art appreciation experiences for young children and adults in a gallery setting. Describes and reflects on the reactions of children to original art works in museums and examines the responses of children and parents to a prepared studio environment. (GEA)

Discusses EXPLORER'S GUIDE: A YOUNG PERSON'S GUIDE TO LAUMEIER SCULPTURE PARK, a book written to introduce children and adults to the artwork displayed in this St. Louis, Missouri park. Describes activities included in the book and assesses the guide's instructional value for young people. (GEA)

Reviews LESSONS FOR LEARNING: HANDBOOK OF MUSEUM-RELATED LESSON PLANS which contains 20 lessons designed to correlate art with other subjects in the elementary and middle school curriculum. Assesses strengths and weaknesses of the handbook, concluding that, although lessons are uneven in quality, many original and interesting ideas are proposed.…

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)

Describes an introductory fiber arts unit for children and university students based on weaving the traditional Scottish tartan plaid on the floor or table loom. Concludes that the tartan plaid presents students with a satisfying artistic medium which can be mastered by all age levels. (GEA)

Discusses the problems involved in teaching aesthetics in the art classroom and describes a class for art teachers which addressed this topic. States that the subject can, with some difficulty, be taught to children, but that background knowledge in aesthetics is essential for those who plan and teach the curriculum. (GEA)

Discusses the major reasons why microcomputers have not yet become commonplace in the arts and describes how the College of Communications and Fine Arts at Southern Illinois University (Carbondale) researched, planned, and implemented a college-wide computer technology program. (GEA)