Reports on a three-day conference entitled "Creative Process in Education: Design for Quality Learning." Held at the University of Arizona in Tucson, the conference focused on integrating the arts into the elementary curriculum. Teaching ideas presented in workshop sessions are described. (Author/SJL)

The author describes how advance planning of tours, inservice, and teaching materials by school and museum educators ensured that Minneapolis teachers and students learned a great deal when the traveling museum exhibit "The Vikings" came to their city. (SJL)

The author challenges certain curricular conceptions, based on aesthetic discourse, professional occupational descriptions, and instrumentalist social applications which he believes have hindered the development and integration of art critical and historical education into the high school studio art program. (Author/SJL)

The author urges art educators to contribute to holistic education by emphasizing the unique and alternative modes of thinking and acting which are intrinsic to visual arts. He presents two exercises to help students develop a perceptual rather than conceptual or linguistic mode. (Author/SJL)

Noting that Asian children frequently develop artistic sensitivity and skill at a very young age, the author presents insights gained from a year's study of Japan's art education practices and of cultural attitudes which foster children's art in that nation. (SJL)

Through a brief review of studies correlating the Torrance Tests of Creative Thinking and standard intelligence measures, the author seeks to demonstrate that creativity and intelligence are not synonymous. He espouses Viktor Lowenfeld's concept of "Creative Intelligence" and describes the Future Problem Solving Program as a way to develop this…

From a literature review and her own work, the author has assembled comments from elderly art students on why they participate in art classes, the kind of instruction they like, the style of art they like, and their creativity. Implications for art teachers of the elderly are discussed. (SJL)

Advocates the development of an "arts education executive" who coordinates all arts activities within the community, including school-based programs. (Author/SJL)

The quality of the arts in education depends ultimately upon the talented teacher working with the creative student. Such teaching talent must be cultivated through preservice and inservice training and development of four general kinds of arts educators: arts specialists, artists, elementary classroom teachers, and nontraditional teachers and…

For effective education, the instructor must know the field well enough to (1) clarify and communicate purposes and directions, (2) identify and sequence content, (3) apply engaging methods for learning, and (4) evaluate student progress. (Author)

In this address to the 1980 National Art Education Association Convention, the author reviews Association progress in the 1970s and the major issues facing art educators. He asserts that the primary reason for art in the schools is its cruciality to each individual's growth and development as a human being. (SJL)

Photographs are presented of some of the winning entries in the 1980 Scholastic Art Awards program for high school students, sponsored by Scholastic Magazines, Inc. The objectives of the contest are discussed. (SJL)

In this keynote address to the 1980 National Art Education Association National Convention, the author suggests a redirection of art education. He proposes a redefinition of the scope and purpose of art education, outlines a dialog curriculum for aesthetic literacy, and considers ways of dealing with the arts bureaucracy. (SJL)

The author expresses concern that the interdisciplinary approach to art education requires too much staff time and additional teacher education, limits innovation, allows only superficial exposure, and trivializes art. He asserts that students will gain more from an in-depth experience in at least one discipline of art. (SJL)

Responds to Wilson and Wilson's critique (Sept 1981) of the use of the developmental approach to the study of children's art. Lewis argues that the developmental approach is appropriate for age-related studies and it should not be abandoned as a method because researchers are working on projects where its use is applicable. (AM)