The museum, unlike other educational systems, can rely on authentic objects, not words, as the chief educational tool. It is important to remember: to learn about objects can be educationally valid and interesting, but to learn from objects can stimulate even higher levels of learning. (Author/SJL)

Five school administrators and art educators respond to the question: "What is your view of the general condition of the arts in the schools today compared to five years ago? Consider changes in both quality and quantity, status and content." (Editor/SJL)

Discusses how art and mythology both function to reawaken perception. Describes how the use of myth can impart to students very real human reactions and feelings. Maintains that art educators are responsible for enabling and empowering students with the wonders of mythology. (KM)

Argues that encouraging creative self-expression should remain a vital part of the art curriculum. Provides a case study and explains how the art teacher can intervene to engage affective concerns by using appropriate works of art. Concludes that increased resources or recognition in the field should not be reasons to replace a child-centered…

Provides four art portraits from various sources to help students question reality and the roles people play in society. Includes background information on the artists, historical contexts, visual analyses, and vocabulary lists. Outlines art and reading assignments for all age groups. (KM)

Outlines a collaborative processing model of art education what draws upon the language and learning notions of Lev S. Vygotsky. Emphasizes the role of the learner in collaboration with her/his social environment rather than traditional disciplinary boundaries. Synthesizes the principles of transactional learning theory and the processes of making…

Identifies and responds to criticisms of discipline-based art education (DBAE). Shows how it is an all-inclusive program that responds to the needs of all students. Analyzes factors that relate to self-esteem and demonstrates how DBAE enhances it. Describes a typical lesson and case studies to support this argument. (KM)

Compares the place of physical education and art education in the school curriculum. Claims that physical education deadens feelings and that a healthy democracy needs compassion, imagination, and interconnectedness. Concludes that to reassert education for democracy there needs to be a replacement of the dominant ethos of the football machines…

Explains that the laser videodisc is a versatile and cost-effective tool with enormous instructional potential for art education. Describes the origins, quality, and capability of videodiscs, and discusses the varieties of players and discs presently available. Maintains that this technology is especially relevant now that art education includes…

Summarizes the conclusions reached by art educators who discussed the kinds of computer knowledge and skills required by preservice teachers. Identifies two categories: fine arts (visual expression, graphic design, and aesthetics) and art education (knowledge about hardware and software, applications, management, and interdisciplinary…

Seeks to introduce elementary and middle school students to cultural differences in artistic styles, and to develop students' critical skills by examining four different cultures' interpretations of a common subject, the fish. Provides several instructional strategies to strengthen students perception of works of art. (KM)

Discusses three issues pertaining to the use of interactive graphic hardware and software in schools: (1) computer graphic production processes; (2) the social dynamics of computer graphics production in school; and (3) the qualities of imagery. Concludes that art educators must consider what particular art concepts could and should be taught…

Describes a computer system in which art reproductions are described and entered into a database containing 27 categories of information. Named the Visual Art Index System (VIAS), its underlying structure is influenced by contemporary models of aesthetics and art criticism. Maintains that the database and laserdisk can effect teaching methodology,…

Discusses the origins of an exemplary model to serve as a guide for the implementation of computer graphics in the art classroom. Describes how the "Indiana Computer Graphics Cadre" developed a curriculum guide and organized workshops to instruct other art teachers in this area. (KM)

Describes how a teacher can motivate students to be creative by dressing up, performing for them, hiding things, and designing visual experiments. Advocates that art teachers demonstrate that art class is a playful and exciting place to be. Suggests methods to encourage teachers and students to perform. (KM)