Describes the need for and ways to implant a favorable image in the school and community which will result in improvements in art programs. (MB)

Author attempts some clarification of his general philosophy of art and of the teaching of painting. (Author/MB)

Social haptics involves the healing power of art: efforts of the individual by haptic" means to uplift the socially disadvantaged. (Author/MB)

For art, the open classroom can provide a climate in which all that the student is learning becomes interacting, instead of an isolated subject" conducted in a special place at a special time. (Author)

Author describes the architecture of Rochester Institute of Technology, the Amon Carter Museum in Fort Worth, and the Denver Art Museum. (MB)

Education of art teachers should be geared to our conceptions of the functions that art education performs, and must take into account the socialization of those who assume roles within the educational structure. (AN)

Describes and evaluates fifteen ideas of the value of art experience as objectives of art education; concludes that the most worthy educational objectives are (1) the development of citizens capable of responding to the entire spectrum of the visual arts, and (2) the exploration of new and better ways to coexist as human beings through the use of…

If man is to understand the transformation of the ingredients of his environment into the quality of his existence, a greater spatial awareness may be a crucial aspect. (Author)

Aesthetic experience is to be viewed as a liberating discipline, an integral component of human life leading to a fuller expansion of consciousness and the actualization of the individual personality. (Author)

Claims that contemporary artists in Western society are obsessed with their careers and fail to approach art as total human beings. Cites three instances in which the latter has happened. Recognizes the experiential nature of learning in studio art and argues that artists/teachers are obligated to ground students' art experiences in praxis. (KM)

Discusses six instructional approaches to aesthetics: (1) historical-philosophical; (2) cultural literacy; (3) aesthetic inquiry; (4) social-critical consciousness; (5) cross-cultural and multicultural; and (6) aesthetic perception and experiences. Examines instructional applications of these approaches, assess their flexibility for classroom…

Provides illustrations and activities to help students at all grade levels understand how artists look at the world and how each artwork is a result of that personal vision. Suggests questions based on an art criticism model that moves from stages of impulse, description, analysis, interpretation, and information to personalization. (KM)

Argues that many of the concepts which constitute discipline-based art education (DBAE) can be related directly to postmodernism. Examines the historical development of art education in relation to art movements, the improved relationship between artist and market, and cultural pluralism. Concludes that DBAE may help students comprehend the…

Argues that art educators must be acquainted with recent trends in art history, particularly the shift from connoisseurship toward cultural and sociological concerns. Presents a brief overview of art history practice in schools, followed by some recommendations for teaching from new perspectives. (KM)

Describes how art teachers can conduct their own scholarly research in the classroom. Outlines the design of a Grapho-Linguistics program aimed at teaching reading through art. Describes art strategies development, administrative reactions, sample and data collection methods, testing techniques, and procedures for achieving publication of…