Maintains that teaching the creation of art can be lost in the emphasis on discipline-based art education. Argues that much of art education is studying the art of others or the concepts and principles that can be derived from others. Contends that the process of personally creating art must be revived as an integral part of art education. (CFR)

Questions whether art educators are using outmoded, traditional methods in a nontraditional world. Contends that teachers must be appreciative of art's eclectic nature and its ability to help students understand contemporary society. Asserts that the relationship between the art teacher and the student must be both active and reflective. (CFR)

Describes a one-week residency program for art educators at Fallingwater, a Frank Lloyd Wright-designed retreat in western Pennsylvania. Discusses the significance of the architecture on the goals and outcomes of the program. Asserts that the experience encouraged the participants to include architecture education in their art education programs.…

Presents teaching procedures for using four paintings of the environment in secondary classrooms. Includes questions for student discussion and enrichment. Provides color photographs of the four paintings. (CFR)

Advocates normalization in art for students experiencing disabilities. Argues against the use of therapeutic or remedial approaches that use art to achieve nonart objectives. Provides a problem-solving matrix to help art teachers meet the needs of disabled students. (CFR)

Argues that the primary responsibility of professional art education associations to their members is advocacy. Explains four areas of advocacy: (1) public awareness; (2) professional development; (3) policymaking; and (4) patronage. Concludes that art educators must join together to advance the cause of ethical art advocacy. (CFR)

Asserts that the current national standards movement is a broadly based discussion and debate about what art educators hope to and should accomplish through their work. Reviews the origins and process of developing national art education standards. (CFR)

Asserts that, although portfolios are used frequently to evaluate art students, the potential of the portfolio as an intellectual, creative, and comprehensive test of artistic performance needs further exploration. Discusses the portfolio process as having three major components: (1) idea; (2) process; and (3) product. (CFR)

Asserts that content-based art education, which is dominated by discipline-based art education at the elementary level, is also represented by a secondary model developed within the International Baccalaureate Program. Maintains that the program provides a content-based structure and fosters thinking skills, creativity, and critical appreciation.…

Argues that much of what is used currently to teach about multiculturalism in art consists of art made "long ago" or "far away." Presents four contemporary art works incorporating elements of mass media, popular culture, and diverse artistic traditions. Includes four full-page color photographs of the art works. (CFR)

Contends that the evaluation of student achievement is the most important function of educational assessment. Proposes a balanced evaluation approach based on four dimensions: (1) cognitive learnings; (2) affective learnings; (3) psychomotor learnings; and (4) behavioral performance. Recommends the use of checklists and evaluation forms. (CFR)

Examines postmodernist art and its impact on architecture and visual art in the United States. States that this genre of art has affected dramatically object art, such as furniture design. Contends that postmodernism can be traced through societal and personal histories. (CFR)

Defines the environment as both subject and context for art education and art as historical visual record of culture. Recommends that art education should include study of built environments such as schools and public buildings. Describes programs in which students designed and built sidewalks in Oregon and Kentucky. (CFR)

Presents lesson plans for grades K-3 based on 4 well-known paintings Discusses historical background and cultural impact of the paintings. Provides student activities and assessment suggestions. (CFR)

Argues that drawing in art is a visual, intellectual, and emotional act. Provides suggestions for helping students understand these three perceptions. Discusses the impact on curriculum design in art education. (CFR)