Author discussed five reasons offered by the Ford Foundation for the failure of its efforts to improve education, and suggested a few additional causes for the lack of success in the total reform movement. (Author/RK)

This article will focus on the need to develop a system for the coordination and dissemination of research reporting activities starting with a brief overview of research in art education, past and present and with a discussion of its limitations. (Author)

Following a preface on the uses of art education history, the author employs historical analysis to identify the current state of art education research as a discipline. Factors working to maintain the schism between art education research and practice are also discussed, particularly stereotyped self-images influencing art educators. (SJL)

The author draws a conceptual map of art education, intended as a theoretical introduction to the field for both students and researchers of art education. (Author/SJL)

This paper notes historical and contemporary issues in the women's art movement concerning the making and marketing of art and cites examples of the movement's educational efforts. From these observations comes a discussion of the role of art education with regard to feminist, artistic, and educational issues. (Author/SJL)

This study extends previous work in the use of descriptive reinforcement procedures to increase productivity of new forms in artwork. Subjects were four kindergarteners who demonstrated an absence of diverse forms in their paintings. Results indicated that form diversity was improved and that the improvement lasted over time. (SJL)

A training series, designed to increase kindergarteners' conceptual and visual perception skills in dealing with texture, was evaluated. Improvement occurred in subjects' ability to describe texture and to use it in artwork, but the Boehm Test of Basic Concepts indicated that ability to form new concepts was not fostered. (SJL)

The purpose of this study was to provide a task on which subjects could indicate their preferences for linear or painterly art work and to determine if such preferences are related to some traditional measures of cognitive/perceptual style, chosen because they appear to relate to whole/part perception. (Author)

College art majors, art education majors, and nonart majors were compared on measures of brain hemisphere dominance, general intelligence, brain functioning, visual perceptual differentiation, grade point average, flexibility-rigidity, and personal-social adjustment. (SJL)

Design projects by senior architecture students were critiqued by a faculty jury to see if students' judgment of their own work gained in accuracy after criticism and if good students judged themselves more accurately than average or poor students. Student reactions to the jury experience were also studied. (SJL)

Since their establishment in the 1870s, American museums have professed to be educational institutions and have attempted with varying degrees of success to promote aesthetic awareness and visual education. The author reviews past efforts, current issues, and future potentials in museum education. (Author/SJL)

Art history teaching has traditionally emphasized stylistic analysis of Western art. We need to broaden our definition of what art is and why it is integral to cultural life. The sociologist and the anthropologist can contribute to our knowledge of how social factors affect art. (Author/SJL)

Research in art education must deal with the structure-in-process of creating, including both cognitive and intuitive approaches of human understanding. The Structural-Existential (S-E) Model can analyze this paradox. To exemplify the theoretical arguments, the author uses excerpts from contexts of creating in art. (SJL)

The purpose of this paper is not to discuss particular policy issues in aesthetic education but rather to address the process of and problems in policy formation: the context of policy, power structures, policy implementation, effectiveness criteria, and policy justification. (Author/SJL)

Forty students, grades 4 and 8, were given match-to-sample tests on Western art, to gauge their ability to recognize paintings by the same artist. Eighth-graders performed reliably better than fourth-graders, and their matching justifications were more advanced. Prior artistic experiences improved style sensitivity. (SJL)