Contends that Discipline Based Art Education (DBAE) upholds and exemplifies a tradition that supports the male-dominated status quo in art education. Presents gender-biased quotes from various theorists and philosophers whose works form the foundation of DBAE. Concludes by showing how feminism may strengthen arguments for DBAE. (JDH)

Presents a biography of Mine Okubo, a prolific Japanese-American artist who was among the thousands of Japanese imprisoned in "relocation camps" during World War II. Provides insights into Ms. Okubo's philosophy as well as the phases of her art, emphasizing her role as a living repository and documentor of Japanese-American history. (JDH)

Reviews Betty La Duke's 1985 book "Companeras: Women, Art, and Social Change in Latin America." States that La Duke's background as an artist with more than 30 years of experience in Latin American travels produces a very clear impression of the aesthetic response of women to the fabric of their lives. (JDH)

The back-to-basics movement alone cannot solve many of our pressing educational difficulties. Absenteeism and discipline problems point out the need for schooling that fosters human relationships and individual interests. This speech was presented at the American Association of School Administrators Convention, New Orleans, Louisiana, February 16,…

The author criticizes the Rockefeller Report, "Coming to Our Senses," for implying that elementary classroom teachers should teach art, when most lack the necessary training. She proposes new art training and certification requirements for prospective teachers, inservice courses for current teachers, and employment of additional art teachers and…

The author examines some of the major developments, issues and problems during his tenure as president of the National Art Education Association. He looks at the association itself, federal programs, and the cutbacks art education is suffering in the back-to-basics movement. (SJL)

Presents a model for a creative art lesson which uses a mediational approach to modifying creative behaviors. Students learn vicariously through first observing a model demonstrate the complete learning experience. (Author/SJL)

This column consists of brief responses by individuals both within and outside the art education profession, regarding an important concern in art education. Contributors to this issue respond to one or both of the following questions: "Who makes policy in art education?" or "Who should make policy in art education?" (SJL)

The receptive and the meditative moments of creation precede and follow the assertive and the calculating. Yet since the three moments are all part of the dialectic of creation, the clash brought in through assertiveness is essential to the becoming of newness in the world. (Author/SJL)

The view of aesthetic responding presented herein has grown out of a theory of contextual aesthetics as explicated by John Dewey and Stephen Pepper and a phenomenological inquiry into art by John Anderson. The method for entry into the responsive domain has evolved from a direction elaborated by Kenneth Beittel. (Author)

Acknowledging that potting is a phenomenon, accepting Gadamer's definition of play, and observing Alex making pots leads to a description that within Alex's potting occur: 1) to-and-fro movement; 2) choices; and 3) transformation. This method may be undertaken to further describe the experience for another potter. (Author)

The author partially describes a few of the immanent qualities of dreaming imagery and metaphor. The concept of the ineluctable modality is introduced to illustrate the spontaneous synthesizing of cognitive and noncognitive elements. A short dream excerpt is shared to clarify the pervasive contrapuntallike depth of dreaming imagery. (Author/SJL)

In teaching we develop a language of practice related to the student's discipleship toward wholeness, which is also a depth hermeneutic or interpretation of his self-formative process. In short, when we truly teach art, we are mediating body-mind integration and self-actualization in and through art. (Author)

Several national leaders in government, education, and the arts respond briefly to the question, "How can the federal government best support art education?" (Editor/SJL)

The author challenges art educators to engage in positive types of radicalism, speaking in the appropriate and approved jargon, and at the same time protecting the magic that only art can offer. (KC)